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Class  J^[\LL933 
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COPXFSGHT  DEPOSIT. 


Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIO-VISUAL  CONSERVATION 
at  The  LIBRARY  of  CONGRESS 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


I 


,  '. 


SEPTEMBER  / 


v 


35<z 


*UAE>OWk4ND 


EXPRESSING  THE  ARTS 


TV 


A  Magazine  of  Beauty  Secrets  for  Every  Woman 


A  MAGAZINE  to  help  every  woman  to  be  more  beautiful  than  she  is  and  then  help  her 
to  preserve  that  beauty.  Every  woman  wants  beauty:  a  strong,  healthy  body;  grace; 
charm ;  a  spirited,  active  mind.  She  knows  that  some  are  born  beauties — others  have 
it  thrust  upon  them.  What  she  does  not  know  is  that  all  may  attain  it  if  they  will.  A 
fe\v  years  ago,  those  who  used  cosmetics  in  any  form  were  called  "painted  ladies." 
Those  who  went  systematically  thru  forms  of  exercise  to  improve  their  figures  were  "vain." 
Now,  the  use  of  cosmetics  is  universal.  Physical  culture  is  a  habit.  Every  woman  knows  that 
she  must  look  her  best.  She  not  only  tries  to  assist  nature,  but  to  improve  it.  This  is  where  the 
new  magazine  /T}€.erut\ 


tV«  comes  in. 


Elsie  Ferguson 
Pauline  Frederick 


LILLIAN   MONTANYE, 
Editor 

Editorial   Advisory   Board 

Corliss  Palmer 
Alla  Nazimova 


Katherine  MacDonald 
Jeanette  Pinaud 


•fteavit 


■* 


magazine  is  the  modern 


Pandora  s  Box 


We  have  gathered  about  us  some  of  the  world's  greatest  authorities,  and  are  supplying  o- 
ers  with  the  best  and  most  authoritative  information   on   all   subjects   that   pertain    to   pc. 
beauty.     Famous  beauties  of  stage  and  screen,  society  beauties,  beauty  parlor  experts,  celebrated 
dermatologists,  many  well-known  notables  are  contributing   to   its   pages.      A   special   feature   is 

The  Beauty  Box 

conducted  by  Corliss  Palmer  who,  as  winner  of  the  1920  Fame  and  Fortune  Contest,  was  ad- 
judged the  most  beautiful  girl  in  America.  This  is  an  Answer  Man  department  in  which  Miss 
Palmer  answers  all  questions  on  the  proper  use  of  cosmetics  and  on  everything  pertaining  to 
beautifying  the  human  face  and  form  divine.      She  also  makes  a  special  plea  for 

Physical  Beauty 

the  importance  of  the  care  of  the  body  itself ;  the  significance  of  health ;  the  wholesome  charm 
of  a  strong,  well-poised  body.  Each  issue  contains  a  hundred  aids  to  grace  and  beauty — in- 
numerable little  "nothings"  that  count  greatly  in  the  end.  /f*Wd-ut\-*  1S  t^le  Open  Sesame  to 
love,  joy,  life  and  all  the  dear  emotions  that  so  many  have  to    \J  C^-  pass  by  because   they 

have  not  discovered  the  sweet  secret  of  pleasing.  4*Wei\it\»*  '* — *n  'tse^ — 

A   Thing  of  Beauty 

a  second  SHADOWLAND  in  its  artistry.  It  contains  reproductions  of  famous  paintings  in 
all  their  original  colors,  suitable  for  framing;  beautiful  photographs,  in  color,  of  famous  beau- 
ties of  this  and  other  lands  which  make  charmingly  decorative  pictures  for  the  boudoir.  From 
cover  to  cover  rf^Gerutx.*    *s  picturesQue>   artistic,  colorful.     It  is 

A  Magazine  That  Every  Woman  Wants 

and  that  every  man  wants  his  wife,  daughter,  sister  or  sweetheart  to  have.  There  are  magazines 
of  fashion,  art,  fiction,  politics,  homes  and  gardens — but  until  a  few  months  ago  no  one  had 
thought  of  devoting  a  whole  magazine  to  beauty. 

Dont  Forget  to  Order  from   Your  Dealer 

There  is  always  a  rush — sometimes  a  real  scrimmage  when  <f^©<a\it\-f  comes  out.  The  price 
is  only  25  cents  a  copy  or  you  may  subscribe  at  the  rate  of    \J  &*•  $2.50  a  year. 

/f*^€.erut\^    is  on  the  stands  the  8th  of  each  month. 

BREWSTER  PUBLICATIONS,  INC.    -    -     Brewster  Buildings,  Brooklyn,  N.  Y. 


,Vs  'A* 


"«?<.. 


Mohammed  at  Mecca,  about 
620  A.  D.  *  *  *  ' 'Increase  the 
wager,  but  lengthen  the  Time!" 


ue  o 

By  l^ccn-ios" 


ime 


Paintings  by  HAROLD  DELAY 


Below,  at  right,  three  views  of 
Elgin  Presentation  Watch  with 
"Mecca" Bow,  $325*  The  Pres- 
entation Series  embodies  the  new 
19-Jewel  C.  H.  Hulburd  Move- 
ment, 12-size  bridge  model,  ex- 
tremely thin. 

All  watches  of  this  new  series 
have  the  Invar-Steel  Balance, 
which  minimizes  temperature 
variation  and  makes  for  remark- 
ably accurate  timekeeping. 

Each  Presentation  Watch  is 
an  individual  creation.  Case  din 
a  pleasing  variety  of  exclusive 
designs,  in  White,  Green  and 
Yellow  Gold— $325  to  $500  *  * 
The  Elgin  Presentation  Series  is 
considered  the  last  "word  in  the 
Gift  Idea  as  applied  to  modern 
business  and  social  requirements. 


TO  MOHAMMED,  life  was  a  waiting  game.     Time  lifted 
him  from  poverty  to  power.     Like  Caesar,  he  sensed  Time's 
value  to  the  full,  but  for  the  Roman's  whirlwind  dispatch 
he  substituted  the  patience  of  the  Orient.    "Now!"  was  Caesar's 
watchword.     "Wait!"  was  Mohammed's. 

An  Arab  rival  ridiculed  Mohammed's  prophecy  of  the  end  of 
Persian  domination.  "Master,"  cried  Abu,  the  Prophet's  zealous 
bodyguard,  spurring  hotly  through  the  gates  of  Mecca,  "I  have 
wagered  him  ten  camels  that  it  will  come  true  within  three  years ! ' ' 
"Increase  the  wager,"  came  the  Prophet's  crafty  whisper, 
"but  lengthen  the  Time!"  Abu  promptly  trebled  the  Time  and 
staked  one  hundred  camels — and  won ! 

The  flight  of  thirteen  centuries — which  has  increased  Moham- 
med's following  to  three  hundred  million  souls — has  brought 
to  the  world  a  steadily  deepening  sense  of  the  Value  of  Time,  and 
of  the  responsibility  which  rests  on  those  matchless  guardians  of 
the  priceless  minutes  of  our  day — 


SuADOWLAND 


The    American    Beauty    Contest 


jSey^mericoiidDmBlii/lipnp 


"Mirror,  mirror,  on  the  wall, 
Am  I  the  fairest  of  them  all?" 

We  all  know  the  famous  fairy 
story  of  the  Queen  who  thus  ad- 
dressed her  mirror  —  and  now 
there  is  a  reason  and  an  opportu- 
nity why  every  woman  should  seek 
similar  counsel  from  her  mirror. 

Then — if  her  mirror  is  encour- 
aging —  she  should  send  us  her 
photo  at  once. 

We  are  looking  for  beauty  and 
only  beauty.  This  is  NOT  a 
movie  contest. 


\yhose  "luce  Will  Ip 


Kef  leer? 


The  Loveliest  Woman  in 
America 

You  may  think  it's  a  tall  order  to 
find  her  among  so  many  beautiful 
women.  It  is — but  the  Brewster  Pub- 
lications, read  thruout  the  length  and 
breadth  of  the  land,  are  determined 
to  find  her — and  find  her  they  will ! 

Somewhere,  as  you  read  this  page, 
that  fortunate  young  woman  may  be 
reading  the  same  page,  unconscious 
of  the  fame  and  rewards  that  await 
her. 

Is  it  you?  Is  it  the  girl  next  door? 
Is  it  that  lovely  girl  you  met  last 
summer? 

Read  the  simple  rules,  and  the 
splendid  rewards  that  await  Amer- 
ica's  loveliest   girl! 


These  Will   Be  the  Rewards  of  America's  Beauty: 

1.  A  trip  to  New  York,  properly  chaperoned,  and  a  chance  to  take  in  the  pleasures  which  only  that  great  city  affords: 
the  opera;  the  theaters;  our  wonderful  library;  the  famous  East  Side;  great  museums;  the  celebrated  Green- 
wich Village;  all  the  luxurious  and  beautiful  shops  on  the  most  luxurious  and  beautiful  street  in  the  world,  Fifth 
Avenue;   and   so  on. 

2.  A  well-known  American  artist  will  paint  her  portrait. 

3.  A  representative  American  sculptor  will  model  her  head. 

4.  These  works  of  art  will  be  exhibited  in  one  of  the  leading  art  galleries  of  New  York  City  and  elsewhere. 

5.  She  will  have  her  picture  on  the  cover  of  BEAUTY. 

There  will  be  a  second  prize  and  a  third  prize,  and  possibly  more.  These  will  be  announced  later.  In  view  of  the 
fact  that  the  American  Beauty  may  be  found  in  New  York  City,  or  its  immediate  vicinity,  the  prize  in  her  case  will 
be  $1,000,   instead   of  the  visit  to  New  York.     Just  think  of  that 

One  Thousand  Dollars!       ($1,000) 

This  is  aa  unprecedented  offer.  Do  not  fail  to  take  advantage  of  it.  Send  us  your  photograph.  That  is  all  that  is 
required  of  you.  Think  what  you  may  win — just  because  you  happened  to  be  born  beautiful.  Scrupulous  care  will  be 
taken    of   every   picture    received.     ALL   of   them    will    be    examined  by  the  contest  judges. 

Notice 

Photographs  that  are  submitted  to  us  in  our  Beauty  Contest  will  be  turned  over  to  the  Metropolitan  Magazine,  from 
which  they  will   select  photographs  to  be  used  on  the  Metropolitan  Cover  Contest. 


The  Rules 

No  photographs  will  be  returned. 
No  exceptions  will  be  made  to  this  rule. 
Winners  will  be  notified. 

Snapshots,    strip    pictures,    or     colored    photographs    will    not    be    con- 
sidered.   Outside  of  these,   any  kind   of  picture  will   be   accepted;   full 
length  or  bust,  full  face  or  profile,  'sepia  or  black.     You  may  submit  as 
nany  photographs  as  you  wish, 
hotographers,  artists,  friends  and  admirers  may  enter  pictures  of  their 
vorites.    Credit  will   be  given   photographers  whenever   possible, 
i    not    ask    the   contest   manager    to    discuss   your    chances.      He    has 
hing  to  do  with  that  end  of  it. 
not.  ivrite  letters.    The  close  of  the  contest  will  be  announced  in 

KI0TI0N.&ICTV&E.     ClAS  S I C 

MAGAZ.INE  ^^b^*1 

SuADQWLAND    and    ^©<a\itv^ 

'  three  months  in  advance.  There  will   be  a  contest  story  every 

n  all  four  magazines,  with  all  necessary  news  and  information. 

"t  beautiful   picture  received   each  month  thruout  the   operation 

■ntest,  will   be  published  in   a  monthly  Honor  Roll  in   all  four 

s.    These  girls  will  be  notified  when,  and  in  which  magazine 

are  will    appear.     This   does  not  mean   that  they  have   neces- 

'ified  for  the  final   award,  nor  that  those  whose  pictures  are 

;d  have  failed.    The  winner  will  not  be  decided  upon  until 

he  contest. 


9.  Such  a  coupon  as  the  one  below,  properly  filled  out,  must  be  PASTED 
on  the  BACK  of  every  photograph  submitted. 

10.  Be  sure  to  put  sufficient  postage  on  your  photograph. 

11.  The  contest  is  open  to  any  girl  or  woman  sixteen  years  or  older,  pro- 
fessional or  non-professional,  in  America.  That  means  the  whole  con- 
tinent! 

NOTE.— Any    infraction    of    these    rules    will   cause    a    contestant    to    be    disbarred 
from   the   contest. 

Address  your  photograph:  Contest  Manager,  Brewster  Publications,  Inc., 
Brewster  Building,  Brooklyn,  N.  Y. 


THE  ENTRANCE  COUPON' 

This  is  a  portrait  of : 

Name 

Address 


Age Weight Height 

Color  of  Eyes Hair Complexion 

It    is    submitted    to    the    American    Beauty    Contest,    subject    to   the    rules 
thereof,  by : 

Name 


Address. 


Occupation  (optional) . 


/ 


AUG  21  1922 


C1B533727 


Volume  VII 


Expressing  the  Arts 


The  Magazine  of  Magazines 
SEPTEMBER,  1922 

iiiiiiiiiiimmiiimiiimiiiiiimiiiiiiiiimmimiiiiiu 

Important  Features  in  this  Issue: 
JOHN  COSTIGAN Edgar  Holger  Cahill 

An  appreciation   of  one  of  the  most  noteworthy  figures  among  the 
younger  men  in  the  world  of  painting 

WHEN  DOCTORS  DISAGREE Roscoe  Ashworth 

The  story  of  James  Joyce  and  his  famous  book,  "Ulysses" 

REGINALD  MARSH  VISITS  BROADWAY 

A  clever  artist  wields  a  wicked  pencil  at  the  plays  along  the  Great 
White  Way 

DAUGHTERS  OF  HETH Harry  Kemp 

Original  verses  from  the  pen  of  a  real  poet,  with  an  appreciation 
of  his  work  by  Gladys  Hall 

GRAND  OPERA  SUB  CONSULE  GIULIO 


Jerome  Hart 


A  peep  behind  the  scenes  in  New  York's  great  opera  house,  reveal- 
ing certain  interesting  facts 

A  THRESHOLD  OF  THE  LONG  AGO  IS  BATH 

Edward  Hungerford 

The    author    of    "The    Personality    of    American    Cities"    discusses 
the   charm  of  England's  most  famous  spa 

CUP  PLATES  OF  OLDEN  TIMES W.Q.  Bowdoin 

A  wealth  of  information  about  a  favorite  collecting  hobby 

THE  EXACTING  ART  OF  CARICATURE 

Willard  Huntington  Wright 

Demonstrating    with    lucid    text    and    clever    examples    the    leading 
exponents  of  the  art  in  many  lands 

A  VETERAN  POINTS  THE  WAY .Frank  Harris 

When   Analole   France,   Nobel  Prize   winner,   dared   to  justify  the 
ways  of  God  to  man 


Number  1 


1 1 L  t  111  I  111  1 1 M 1 1 1 J I  r  (I  J  t 1 1 M  ]  J I II 11  Ml  1  Mil  1 1 II1IM  lllll 


Published    Monthly  by   Brewster    Publications,  Inc.,    at    Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.   Y.,   as  second-class  matter,   under  the  act  of  March  3rd,  1879, 

PRINTED    IN    U.    S.    A. 

Eugene  V.  Brewster,   President  and  Editor-in-Chief ;   Guy  L.   Harrington,    Vice-President   and  Business   Manager; 
L.  G.  Conlon,   Treasurer ;   E.  M.  Heinemann,  Secretary 

EXECUTIVE   and   EDITORIAL   OFFICES,   175    DUFFIELD    STREET,   BROOKLYN,    N.   Y. 

Adele    Whitely    Fletcher,    Managing    Editor 
Elsie    Seeligmarm,    Editor 


Subscription  $3.50  per  year,  in  advance,  including  postage  in  the  U.  S.,  Cuba,  Mexico  and  Philippines;  in 
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States   Government   stamps   accepted.      Subscribers   must  notify   us  at  once   of  any   change   of   address,    givi 

old  and  new  address. 


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ng    both 


Copyright,  1922,  by  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 


JJJTMEL 


Page  Five 


Si-IADOWLAND 


Up  In  the  Country 


By   Susan  Myra  Gregory 

Up  in  the  country  now  I  know, 
Soft  winds  among  the  grasses  go. 

The  pussy-willows  in  the  woods 
Have  thrown  away  their  winter  hoods, 

And  if  you  know  just  where  to  look 
Among  the  ferns  that  fringe  the  brook, 

Deep-hidden  buds  will  promise  you 
March  violets,  frail  and  sweet  and  blue. 

Beyond  the  hills  a  murmuring  sound 
Tells  where  the  questing  bees  have  found 

A  clump  of  manzanita  flowers 

Stored  with  the  honey  of  spring  showers. 

Under  the  great  oak's  leafy  mold, 
(Where  fairy  misers  hide  their  gold) 

A  slender  lady's-smock  has  sprung, 
Lured  by  the  first  lark's  silver  tongue. 

Up  in  the  country  now  I  know 
Whose  eager  feet  are  fain  to  go 

Where  pebbled  waters  shine  and  sing, 
And  golden  bees  are  drunk  with  spring. 

Up  in  the  country  now  I  know 
Whose    dreams    along    the    soft    winds 
blow — 


Page  Six 


>V 


BEHIND  THE  SCENES 

An  Original  Poster  by  Albert  Vargas 
Posed  by  Miami 


BETTY  COMPSON 

Painted  by  Ann  Brockman 
From  an  Edwin  Bower  Hesser  photograph 


.-.— J. 


fr  '\: 


^WNM 


..-.--.  .......:■■■ 


RICHARD  BARTHELMESS 

As  interpreted  by  Wynn,  of  Paris 


LAST  PART  OF  WINTER 

From  an  original  painting  by  John  Costigan, 
which  demonstrates  that  he  derives  mainly 
from  the  Impressionist  tradition  which  has 
given  so  much  vitality  to  painting  in  our  day, 
particularly  to  the  painting  of  landscape.  W  ith- 
in  the  shimmering  mysteries  of  light  and  atmos- 
phere that  envelop  his  pictures,  ive  feel  the 
planes  and  dimensions  of  a  solid,  honest  earth 


GIRL  WITH 
SHEEP 

Illustrating..  Costi- 
gan's  concern  with 
atmospheric  effect. 
There  is  a  fine  treat- 
ment of  the  girl's 
figure  beneath  the 
revealing  folds  of 
dress.  This  interest- 
ing use  of  the  hu- 
man figure,  and  of 
animals,  appeals  in 
many  of  Costigan's 
canvases 


Original  paintings 

loaned  thru  the  courtesy 

of  Babcock  Galleries, 

New  York 


tJABOt/bAWE) 


E-XPffSE-SSON 


"The-  Aiprrs^ 


John  Costigan  Carries  the  Flame 

By  Edgar  Holger  Cahill 


MUCH  ink  has  been  spilled  in  recent  years  in  the 
mildly  momentous  task  of  comparing  the  state 
of  the  arts  in  America  with  the  state  of  the 
arts  in  Europe  and  elsewhere.  Are  our  writers  as  good 
as  the  English  ?  Our  painters  up  to  the  French  ?  Opin- 
ion varies.  These  are,  after  all,  sub-academic  questions. 
They  do  not  demand  answers.  There  is  another  ques- 
tion of  the  same  type 
which  interests  me 
much  more  at  the 
moment.  It  is  this : 
in  which  of  the  arts 
is  the  America  of  our 
day    finding    its    best 


expression 


?     Is  it  in 


poetry,  in  the  novel, 
in  the  drama,  the 
dance,  painting,  sculp- 
ture, or  architecture? 
I  have  an  opinion  im- 
mediately handy.  It 
is  a  purely  personal 
opinion,  of  course, 
without  a  complete 
armory  of  standards 
and  critical  cliches  to 
back  it  up.  Neverthe- 
less, I  venture  to  send 
it  forth  into  the 
world.  It  is  that  the 
finest  expression  of 
the  American  crea- 
tive spirit  in  our  gen- 
eration has  come,  and 
is  coming,  from  the 
painters. 

In  the  aesthetic  sig- 
nificance of  their 
work,  in  that  elusive 
but  all  important 
thing  called  talent, 
and  in  the  technical 
mastery  of  their  me- 
dium, the  painters,  I 
believe,  can  give  all 
our  other  practition- 
ers of  the  arts  cards 
and  spades.    There  is 


JOHN  COSTIGAN 


a  logical  growth  and  continuity  in  the  American  tradi- 
tion in  painting  (tho,  of  course,  it  leans  heavily  on 
Europe)  which  seems  to  be  missing  in  the  other  arts. 
They  ebb  and  flow  and  fluctuate.  Painting  sweeps  up- 
ward in  an  assured  crescendo.  Younger  men  carry  for- 
ward and  expand  the  work  of  their  forbears.  The  flame 
is  carried  on  and  grows  from  decade  to  decade. 

One  of  the  signifi- 
cant younger  men  of 
our  day  who  carries 
the  authentic  flame  is 
John  Costigan.  He 
cannot  be  called  a 
Modern  in  the  sense 
that  he  belongs  to  the 
Modernist  group.  But 
he  is  modern  in  that 
he  deals  in  his  own 
way  with  certain  spe- 
cific problems  of  to- 
day. John  Costigan 
was  born  in  Provi- 
dence, Rhode  Island, 
February  29,  1888. 
When  he  was  sixteen 
he  came  to  New  York. 
His  art  education 
was,  as  he  himself 
says,  acquired  in  two 
years  of  on  and  off 
study  at  the  Art  Stu- 
dents' League,  and  in 
the  Kit  Kat  Club's 
night  classes  and  sum- 
mer sketch  club.  But 
true  education  is 
largely  a  matter  of 
educating  one's  self. 
Costigan's  work 
shows  that  he  has 
passed  thru  a  care- 
ful training  in  that 
school. 

There  is  evident  in 
his  work  technical 
proficiency  of  a  high 
order.  But  this 
(Cont'd  on  page  71) 


Photo  by  Nickolas  Muray 


Page  Eleven 


StJADQWLAND 


Drawing  by   Robert  James  Malone 


Page  Tzvelve 


GARETH  HUGHES* 

As  Robert  James  Malone  sees  the  popular  screen  star,  who 
has  just  completed  a  new  picture,  entitled  "Forget  Me  Note 


SflWOWLANO 


Photo  by  Hixon-Connelly 


ERNESTINE  MYERS 

A  dancer  whose  exceeding  grace  has  contributed  in  no  small  measure  to  the  con- 
stantly  growing  importance  of  the  art  in  connection  with  all  theatrical  productions 


Page  Thirteen 


SkUDOWLAND 


Photo  by  Alfred  Cheney  Johnston 


.  U 


MURIEL  MARTIN 

It  is  not  difficult  to  understand  the  general  enthu- 
siasm for  the  Ziegfeld  "Follies"  when  it  is  devoted 
to    the   glorification   of  feminine   charm   like   this 


Page  Fourteen 


SfcUFQWLAND 


Photo  by  Alfred  Cheney  Johnston 


ELEANOR  DELL 

More  varied,  more  amusing,  even  more  beautiful,  is 
what  they  say  of  the  "Follies  of  1922."  Eleanor  Dell's 
many    admirers    will    echo    the    verdict    with    fervor 


Page  Fifteen 


SuADOWLAND 


Photo  by  Nickolas   Muray 


MARTHA  GRAHAM 

A   classic  dancer  of  proved  ability,  who 
is   a  graduate  of  the   Denishawn   School 


Page  Sixteen 


Sqaoowland 


Photo  by  Hori 


LAURENT  NOVIKOFF 

A  vivid  personality  lends  much  to  the 
interpretative  quality  of  his  subtle  art 


Page  Seventeen 


S04QTQWLAND 


ANATOLE  FRANCE 

Sketch  by  Wynn 


Page  Eighteen 


SuAL>OWL/*NL> 


A  Veteran  Points  the  Way 

When  Anatole  France,  Nobel  Prize  Winner,  Dared  to 
Justify  the  Ways  of  God  to  Men 

By  Frank  Harris 


IT  was  put  about  a  short  time  ago  that  Anatole  France 
was  .down  and  out;  his  marriage  had 'finished  him  off, 
men  said,  and  his  age  made  the  condemnation  seem 
probable. 

Then  the  Nobel  prize  for  literature  was  accorded  him 
and  the  ''League  of  the  Rights  of  the  Individual"  (Digue 
dcs  Droits  de  I' Homme)  gave  a  banquet  in  his  honor. 
He  might  have  been  content  at  seventy-seven  to  accept 
the  tribute  and  prudently  avoid  controversy. 

Instead  of  that  he  got  up,  talked  simply  from  the  heart 
and  made  the  speech  of  his  life.  Time  and  again  he  was 
interrupted  by  rounds  of  cheering,  and  before  he  sat  down 
there  were  many  wet  eyes  among  his  auditors.  It  was 
altogether  the  bravest  and  noblest  speech  I  have  ever 
heard.  For  the  first  time  in  my  experience  a  man  of  letters 
rose  to  the  height  of  the  great  argument  and  'dared  to 
justify  the  ways  of  God  tp  men,  and  the  response  Was  im- 
mediate and  passionately  enthusiastic. 

Anatole  France  began  by  speaking  in  favor  of  those 
whom  he  called  "the  innocent  victims  of  courts-martial" ; 
he  pleaded  for  the  immediate  suppression  of  all  such 
military  courts.  In  particular  he  mentioned  Jean  Goldsky, 
a  well-known  journalist  who  was  sentenced  to  eight  years' 
hard  labor  in  1918;  he  declared  simply  that  Goldsky  was 
innocent,  that  everyone  knew  it,  that  he  was  "condemned 
only  because  the  government  dreaded  his  influence."  A 
good  many  of  us  had  never  heard  of  Goldsky,  but  it  was 
impossible  to  doubt  Anatole  France's  quiet  testimony. 

He  then  proceeded  to  praise  the  mutineers  of  the  Black 
Sea  fleet,  which  caused  a  sort  of  gasp  from  his  audience. 

"Their  story  is  ever  famous,"  he  declared,  "and  I 
wish  to  recall  it  briefly  so  that  it  may  add  dignity  to  my 
speech.  In  1919  Andre  Marty  and  Louis  Badina  refused 
to  bear  arms  against  Russia  as  France  had  not  declared 
war  with  her,  and  Russia  had  given  no  offense.  They 
were  both  tried  by  court-martial  and  sentenced  to  twenty 
years'  hard  labor.  But  two  municipal  constituencies  of 
Paris  had  since  awarded  them  municipal  honors,  deeming 
that  they  had  acted  rightly." 

An    American    Analogy 

I  could  not  help  contrasting  this  experience  with  the 
analogous  case  of  poor  Molly  Steimer  in  the  United 
States.  She  was  not  a  sailor  disobeying  orders,  but  a 
Russian  girl  in  her  teens  who  asserted  that  as  war  had 
not  been  declared  against  Russia,  President  Wilson  was 
acting  ultra  vires  and  unconstitutionally  in  making  war 
upon  that  country.  Molly  Steimer  was  sentenced  to  fifteen 
years'  hard  labor  and  only  recently  released  from  prison. 
No  municipal  constituency  has  shown  her  any  honor ;  no 
public  body  of  any  kind  in  the  States  has  exerted  itself 
on  her  behalf,  and  tho  Bernard  Shaw  and  others  of  us 
have  spoken  and  written  in  her  defense,  this  brainless, 
soulless  American  administration  persisted  in  keeping  that 
noble-hearted  girl  in  prison  for  years,  and  when  they 
finally  did  release  her  by  way  of  kindly  atonement,  they 
deported  her  to  Russia. 

There  is  no  doubt  that  Anatole  France's  advocacy  will 

oon  bring  about  the  release  of  Marty  and  Badina.    But 

to   speak .  in    favor   of    mutineers    did   not   give   the    full 

measure  of  France's  courage ;  he  would  also  defend,  he 


said,  some  so-called  traitors,  roundly  adding  that  the 
Malvy  and  Caillaux  trials  were  "judicial  monstrosities." 

"Two  years  after  the  disgraceful  Malvy  trial,"  he  went 
on,  "the  High  Court  returned  to  its  vomit  again  and  tried 
M.  Caillaux.  This  time  the  judicial  crime  had  been  pre- 
pared at  length  and  carefully.  M.  Caillaux  was  sentenced 
on  the  order  of  the  Government,  by  magistrates  and  poli- 
ticians, who  thus  gave  an  example  of  equivocation  which  is 
practically  unheard  of  in  the  history  of  political  as- 
semblies. For  the  honor  of  mankind,  that  sentence  must 
be  torn  up." 

After  expressing  his  belief  and  certainty  that  "justice 
will  triumph  some  day  in  the  Caillaux  case  as  it 
did  in  the  Dreyfus  case,"  Anatole  France  complained  that 
"the  spirit  of  war  outlasts  war  itself." 

A  Passionate   Response 

He  criticized  the  Government,  the  Parliament  and  the 
press  of  France  and  asserted  that  nowadays  "all  wars 
are  civil  wars,  and  since  the  victors  are  as  badly  off  as 
the  vanquished,  let  us  repair  our  ruins  together,  and  if 
possible  let  us  take  pity  of  our  common  weakness." 

With  ever-increasing  boldness,  he  went  on  to  warn  his 
hearers.  "Up  to  now,"  he  said,  "we  have  not  known  ho*w 
to  make  peace.  It  is  a  difficult  but  necessary  art  for  all 
peoples.  We  must  re-make  Europe ;  our  vei-y  existence 
depends  upon  it." 

The  close  of  his  address  drew  the  entire  audience  to  its 
feet.  "For  pity's  sake,  if  we  love  glory,  if  we  wish  to  be 
the  first  nation  of  the  world,  let  it  be  our  reason,  our 
wisdom,  by  a  just  understanding  of  what  is  possible,  of 
what  is  kind,  by  a  calm  view  of  humankind,  and  finally 
by  following  Goethe's  advice :  'Let  us  be  good  Euro- 
peans." 

I  have  never  heard  such  cheers  as  greeted  this  appeal 
to  the  highest  impulses  of  our  humanity.  At  long  last 
someone  has  come  who  speaks  to  the  God  in  us  and  not 
to  the  brute.  And  how  passionately  those  fine  French- 
men responded ! 

The  banquet  was  held  at  the  Restaurant  Universitaries ; 
some  three  hundred  of  the  first  minds  in  France  had 
come  together  to  do  honor  to  the  first  of  living  writers. 
Ferdinand  Buisson  was  in  the  chair,  and  among  the 
speakers  were  Paul  Painleve,  ex-Prime  Minister  and 
Madame  Severine.  Among  the  audience,  too,  I  saw  still 
more  famous  persons ;  but  no  one  paid  any  attention  to 
them ;  it  was  Anatole  France's  night  and  he  had  risen  to 
the  occasion  if  ever  man  did,  and  justified  our  love  and 
reverence  for  him  by  his  pure  sincerity  and  nobly  un- 
selfish courage.  But  alas  !  the  fateful  years  have  left  their 
marks  upon  his  face  and  figure ;  eight  years  ago  when  I 
saw  him  just  before  the  war,  he  carried  himsel*  gaily 
erect,  now  he  is  a  little  stooped;  the  face  then,  tho  framed 
in  silver  hair  and  beard,  had  a  look  of  health.  Now  the 
lines  everywhere,  like  cracks  in  old  masonry,  cry  weakness 
and  the  brown  eyes  that  were  so  bright  are  now  grown 
smaller  and  are  in  the  shade,  so  to  speak;  but  just  because 
of  his  weakness  and  apparent  age  it  was  inspiring  to  hear 
him  defending  the  despised  of  men  and  those  persecuted 
for  conscience  sake — to  the  end  "a  brave  soldier  in  the 
Liberation  War  of  Humanity." 


Page  Nineteen 


SuADOWLAND 


<-a^*mjaa 


■       ■ 

Photo  by  Edward  Thayer  Monroe 


MILDRED  WAYNE 

"Nothing  nearer  than  the  sixteenth  roiv,"  is  what 

they've   said    to    us    several    times    at    the    Eltinge 

Theater,  where  Miss   Wayne  has   been  playing  in 

"The  Demi'Virgin."     We  are  not  surprised 


Page  Twenty 


SUA&OWIAND 


Photo  by  Strauss-Peyton  Studios 


MARJORIE  RAMBEAU 

In  "The  Goldfish,"  which  survived  most  of  the 
summer  on  Broadway,  Marjorie  Rambeau  be- 
gins her  career  in  a  bargain-basement,  continues 
it  on  Riverside  Drive,  and  rounds  it  out  as  a 
society  wonum  in  a  Park  Avenue  home 


Page  Twenty-One 


^UIAOOWIAND 


Paul   Swan,   Artist 

The  Well-Known  Dancer  Who  is  Also 
a  Poet,  a  Sculptor  of  Talent,  and  a 
Painter  Represented  at  the  Paris  Salon 

By  Arthur  H.  Moss 


daily  the  setting  of  a  worker.  We  found  him 
extremely  busy,  putting  the  finishing  touches  to  a 
portrait.  While  waiting,  we  strolled  about  the 
studio,  and  saw  a  good  deal  of  his  sculpture  and 
paintings.  Which  gave  us  our  first  agreeable  sur- 
prise.    It  was  the  work  of  a  sound  artist. 

The  portrait  finished,  Paul  Swan  turned  to 
greet  us,  and  we  got  our  second  surprise — he  gavi 
us  the  firm,  cordial  handshake  of  an  athlete.  Hi- 
pictures  had  led  us  to  expect  a  pale,  ethereal,  al- 
most too-beautiful  creature.  Good-looking  he  un- 
doubtedly is,  but  when  face  to  face  with  him    it 


Photo  by    Bennefte-Moore 

Paul  Swan  in  one  of  his    . 
newest   dances,  which  he 
calls  "Egyptian  Fantasie" 


T! 


THOUSANDS  of  peo- 
ple have  seen  Paul 
Swan  dance.  Many 
thousands  have  read  or 
heard  something  about  him. 
He  has  furnished  columns 
upon  columns  of  sensational 
copy  for  the  sloppy  press. 
But  how  many  Americans 
know  that  Paul  Swan  is  a 
painter  of  distinction  and 
has  exhibited  in  the  Paris 
Salon?  How  many  know 
that  he  is  a  sculptor  of  great 
talent  ?    Or  that  he  is  a  poet  ? 

From  time  to  time  we 
had  encountered  intimate 
friends  of  Paul  Swan's 
who  resented  the  fact  that 
whenever  his  _  name  was 
mentioned,  something  was 
said  about  "male  dancer," 
and  nothing  more.  They  in- 
sisted that  he  was  an  artist 
of  amazing  versatility.  And 
so  our  curiosity  was  aroused 
and  we  determined  to  trail 
this  extraordinary  being. 

On  the  outskirts  of  Paris, 
facing  the  fortifications, 
Paul  Swan  has  his  studio. 
It  is  a  large,  beautifully 
decorated   place,   but   essen- 


Page  Twenty-Two 


SUADQWLAND 


is  his  enthusiasm,  his  vitality 
that  impresses  one  most. 

Our  third  surprise  came 
when  he  started  to  talk.  He 
immediately  plunged  into 
humorous  comment  upon 
what  he  called  the  "Paul 
Swan  Myth."  "You  know," 
he  laughed,  "the  Paul  Swan 
myth  resulting  from  circus 
advertising  and  superlative 
adjectives,  is  the  worst  por- 
trait of  me  now  in  existence. 
I  am  really  a  fraternally  in- 
clined person.  The  worst 
thing  that  can  be  truly 
hurled  at  me,  is  that  I  have 
the  Narcissus  complex. 
That  I  fully  realize,  and  I 
defend  it  as  my  chief  refuge 
from  an  unsympathetic 
world.  Of  course  you  know 
that  I  started  out  as  a 
ploughboy  on  a  Nebraska 
farm.  This  Greek  idea  is 
not  a  pose.  I  simply  dis- 
covered something  in  my- 
self, and  attempted  to  ad- 
just it  to  modern  life  and 
make  it  normal.  I  really 
believe  that  I  should  have 
lived  about  350  B.  C.  When 
I  went  to  Athens,  it  felt  like 
a  home-coming." 


The  versatile  Paul  Swan  at 
work  in  his  studio  as  a 
sculptor,  and  a  reproduc- 
tion of  Paul  Swan's  drawing 
of  his  little  daughter,  Flora 

Photo  by  White 


Paul  Swan's  series  of  dance  matinees  in  the  Greek 
capital  were  a  series  of  triumphs.  From  the  enthusi- 
astic notices  in  the  Hellenic  press,  one  feels  that  no 
foreigner  since  Byron's  day  had  had  such  public  acclaim. 

Tho  Swan  is  devoted  to  his  painting  and  sculpture, 
he  feels  that  the  dance  is  his  best  medium.  He  says 
that  he  himself  is  the  best  medium  for  expressing 
himself.    Thru  the  dance  he  can  reach  his  widest  public. 

AS  AN   ARTIST 

In  painting,  Paul  Swan  is  by  no  means  a  modernist. 
The  Greek  love  of  form  predominates.  He  does  not 
believe  m  "art  for  art's  sake,"  but  that  art  should  be 
the  expression  of  life  "and  experience.  "I  confine  my- 
self to  portrait  work,"  he  said,  "but  I  have  a  keen  feel- 
ing for  landscapes  and  wish  I  could  set  them  on  can- 
vas. If  ever  I  am  rich  enough  to  enjoy  being  a  patron 
of  the  arts,  I  shall  purchase  nothing  but  landscapes." 

We  turned  the  talk  to  poetry,  and  here  again  we  found 
him  decidedly  arrayed  against  the  modernists.  His  own 
work  is  all  of  the  classical  order,  and  shows  consider- 
able technical"  skill.  Here  is  one  that  appeared  in  a 
current  magazine : 

(Continued  on  page  70) 


Page  Twenty-Three 


iuAOOWLANO 


Jean  Cocteau,  French  poet. 
His  recently  published  vol- 
ume of  verse,  "Vocabu- 
laire"  (La  Sirene)  is  com- 
manding the  attention  of 
the  literary  world 


Artistic 
I       Parisian 
Personalities 


Photographs  by  Man  Ray 


Jules  Pascin,  the  painter 
who  has  become  an  Ameri- 
can citizen,  but  cannot 
avoid  the  cafes  of  Mont- 
martre    and    Montparnasse 


Georges  Auric,  one 
of  the  younger 
French  composers, 
whose  music  is 
often  heard  at  cur- 
rent recitals 


Gertrude  Stein,  the 
American  writer  in 
France,  among  her 
Braques  and  Picas- 
sos.  Miss  Stein  is 
also  about  to  issue 
a  new  v  o  lu  m  e 
from  her  pen 


Page  Twenty-Four 


pMMMHHMHHMHRMMMMWMMHMMMNMIMttn^ 


ShJADOWLAND 


HMHHHMinMnUMMMM 


h 


-~, 


Photo  by   Hiller   &   Mott 


MILES  AND  JACK  MARCHON 

Their  Japanese  and  Javanese  Dances  are  marked  for  both  grace  and  authenticity.  Fol- 
lowing their  professional  debut  with  Ruth  St.  Denis,  they  attracted  favorable  attention 
at  the  Winter  Garden  in  New  York,  and  are  well  known  in  vaudeville.  A  return  to  New 
York  is  planned  for  the  coming  season,  with  an  Indonesian  Ballet  of  their  own  creation 


Page  Twenty-Five 


iUADOWLAND 


Grand  Opera  sub  Consule  Giulio 

Or,  Is  the  Metropolitan  Becoming  Germanized? 

By  Jerome  Hart 


IF  there  be  any  more  difficult  job  on  earth  than  running 
a  grand  opera  company,  I  do  not  know  it.  An  oper- 
atic impresario  should  have  sound  musical  and  artis- 
tic taste;  he  should  be  a  good  judge  of  what  the  public 
wants  and  able  to  keep  his  finger  on  the  popular  pulse. 
Added  to  this,  he  should  be  a  practical  business  man. 
Above  all,  he  should  be  able  to  manage  his  artists,  and, 
needless  to  say,  there  is  no  body  of  individuals  so  diffi- 
cult to  control  as  a  number  of  operatic  singers,  more 
often  than  not  obsessed  by  an  inordinate  sense  of  their 
own  'merits  and  importance,  and  richly  endowed  with 
what  is  euphuistically  called  the  artistic  temperament. 

Signor  Giulio  Gatti-Casazza,  General  Director  of  the 
Metropolitan  Opera,  and  formerly  head  of  La  Scala, 
Milan,  is  a  distinguished  personage  by  descent  as  well  as 
by  reason  of  the  titular  honors  conferred  upon  him  by 
his  king.  In  appearance  he  is  the  ideal  impresario. 
Finely  featured,  trimly  bearded,  carefully  dressed,  and 
looking  almost  as  if  he  had  stepped  from  a  Titian  picture 
of  a  doge  of  Venice;  of  dignified  deportment  and  delib- 
erate speech — 
which  does  not  in- 
clude the  language 
of  the  country 
where  he  has  lived 
and  prospered  for 
more  than  a  dozen 
years — one  instinc- 
tively feels  that  he 
is  not  the  sort  of 
man  to  be  trifled 
with.  An  aristo- 
crat, in  fact,  an 
bout  des  angles,  I 
have,  in  the  course 
of  several  conver- 
sations with  him, 
heard  him  profess 
democratic  the- 
ories. But,  like 
many  other  theo- 
retical radicals  of 
aristocratic  lineage, 
he  thinks  all  men 
are  on  an  equality 
— except  with  him- 
self. 

Gatti-Casazza  is, 
in  fact,  an' autocrat, 
and  does  not  brook 
interference,  much 
less  dictation,  from 
anyone — not  even 
from  the  august 
and  opulent  com- 
mittee of  the 
Metropolitan 
Opera,  which  de- 
crees whether  or 
not  his  contract 
shall    be    extended  ©  Mishkin,  N.  Y. 

or     his     salary     in-  Signor   Ghllio    Gatti-Casazza,    General 

creased.       ft     is,     in  and  formerly  head  of  La  Scala,  is  a  di 


fact,  rumored  that  recently  he  had  some  warm  pass- 
ages at  arms  with  the  chairman  of  the  committee,  who  is 
regarded  as  the  financial  alpha  and  omega  of  grand  opera 
in  New  York. 

Last  season,  after  his  own  contract  had  been  renewed 
for  three  years,  Gatti-Casazza  would  not  renew  that  of 
Geraldine  Farrar  on  the  old  terms  of  $1,800  a  night — 
despite  the  fact  that  she  almost  invariably  crowds  the 
house — but  offered  her  a  contract  with  her  guaranteed 
number  of  appearances  cut  down  by  just  one  half.  This 
the  popular  and  independent  cantatrice  at  once  refused. 
Opera  patrons  were  greatly  exercised  and  divided  over 
the  matter.  So.  too,  were  leading  members  of  the  opera 
committee,  and  the  incident  found  those  affluent  musical 
amateurs  and  authorities,  •  Otto  Kahn  and  Clarence 
Mackay,  in  opposite  camps. 

The  fact  that  Marie  Jeritza,  a  Teutonic  cantatrice,  had 
been  permitted  to  usurp  the  position  occupied  for  many 
years  by  an  American  singer,  who  had  become  the  most 
popular  prima  donna  in  the  company,  is  not  pleasing  to 

patriotic  patrons 
of  opera  in  New 
York.  Moreover, 
opinion  is  divided 
as  to  the  vocal  and 
histrionic  merits  of 
the  blonde  and 
more  or  less  beaxt- 
tif til  Jeritza. 

Speaking  for 
myself, I  regard  her 
as  distinctly  in  the 
second  rank.  Her 
Tosca  is,  like  the 
curate's  egg,  good 
in  parts.  Her  San- 
tuzza  is  no  more 
Sicilian  than  Cal  ve's 
is  Chinese,  and  in 
both  parts  she  tears 
her  passion  to 
tatters,  without 
ever  becoming 
really  impressive. 
There  is  ■  no  more 
reason  why  she 
should  grovel  on 
her  knees  when 
singing  "Vissi 
d'arte"  than  that 
she  should  crawl 
on  her  abdomen. 
It  is  not  impres- 
sive, and  least  of 
all  is  it  art.  In  the 
cathedral  scene, 
hatless,  which  no 
Italian  woman 
would  ever  be  in 
church  —  she  was 
more  like  a  German 
Director   of   the   Metropolitan    Opera  (Continued      on 

stinguished  personage  on  many  counts  PaQc  >/  ) 


Page  Twenty-Six 


SuAOQWIAND 


Interpreting 
La  Tosca 


Geraldine  Farrar,  American  prima  donna, 
whose  Tosca  has  been  a  favorite  with 
opera-goers  for  a  decade.  She  sang  re- 
markably well  last  season,  and  the  fare- 
well  demonstrations  in  her  honor,  when 
she  announced  her  intention  of  leaving 
the  operatic  stage  for  the  theatrical,  were 
extraordinary  in   their  fervor 


Photos  by  Mishkin 


Marie  Jerilza,  famous 
Austrian  cantatrice, 
brought  a  new  inter- 
pretation to  the  popu- 
lar role  of  La  Tosca 
that  set  all  New  York 
a-talking  last  winter, 
While  some  folk  were 
not  pleased  with  the 
innovations  she  intro- 
duced, there  are  many 
who  acclaim  her  the 
world's  greatest 
soprano 


Page  Twenty-Seven 


SuADOWLAND 


. 


Foreign 
Applied  Arts 


Glass  by  Lobmeyr,  Vienna.  The 
Lobmeyrs  make  traditional  Bo- 
hemian glass,  as  well  as  glass 
pieces  of  modern  designs.  Flow- 
ers for  hats,  made  of  ribbon  by 
Gertrud  Goehrke,  of  Hamburg. 

Porcelain  and  wood  tray  by 
Deutsche  W erkstatten,  Dresden,  a 
firm  of  world-wide  fame,  which 
employs  among  its  art  direc- 
tors Prof.  Richard  Riemer- 
schmid,  president  of  the  .Ger- 
man ff-rerkbund 


Porcelains  by  Royal 
Manufactory,  M eissen. 
Decorated  earthenware 
vase  by  Keramische 
W erkstatten  Schleiss, 
Gmunden.  This  manu- 
factory ivas  established 
in  1710  by  Bottcher, 
discoverer  of  kablin.  It 
retains  the  original  ro- 
coco style  in  its  work, 
and  employs  also  such 
well-known  modern  art- 
ists as  Paul  Scheurich 
and   Gerhard  Marx 


Right:    Art    Pottery    and 
majolica  from  Karlsruhe 


tI'     fi  N~vC-v" 

'""f     m' 

i 

<           Ml 

ESP-'--.,-                        * 

Porcelain  figures 
by  Gmundener 
Keramik,  one  of 
the  largest  Ger- 
man-Austrian cera- 
mic factories. 
Gmunden  is  the 
center  of  the  cera- 
mic industry. 
Deutsche  W erk- 
statten, Dresden. 
Blown  glass  ani- 
mals: these  ani- 
mals are  blown  in 
one  piece  of  glass, 
including  the 
stand,  by  R.  L.  F. 
Schulz,  of  Berlin. 
Ivory  lockets  by 
Fritz  Schmoll 


Page  Tzventy-Eight 


SjAOOWLAND 

From  Moscow  Cellar  to  New  York  Roof 

In  Its  New  Home  Atop  the  Century  Theater  the  Chauve-Souris 
Continues  to  be  Broadway's  Premiere  Performance 

By  Ernest  Jerome 


GAZING  over  the  wonderful  panorama  of  New 
York  by  night  from  the  roof  of  the  Century 
Theater,  where  the  Chauve-Souris  has  its  new 
home  and  is  giving  its  second  program,  my  thoughts 
went  back  to  a  night,  now  seven  years  ago,  when  I  first 
saw  Petrograd  by  night  from  the  roof  garden  of  the 
Hotel  Europieski. 

The  city  created  by  Peter  the  Great  was  aflame  with 
martial  ardor;  the  blare  of  bands,  the  splendid  songs  of 
marching  soldiers,  and  the  shouts  of  cheering  crowds  on 
the  Nevskii  Prospekt  were  wafted  by  the  summer  breezes 
on  one  of  those  wonderful  nuits  blanches  which  make  the 
Russian  cap- 
ital a  city  of 
rare  mystery 
and  haunting 
beauty.  In 
late  May  and 
June  there  is 
practically  no 
night  in 
Northern 
Russia,  but 
an  exquisitely 
m  y  sterious 
and  lovely 
twilight  pre- 
vails.  It 
was  an  un- 
forgetable  de- 
light to  motor 
out  in  the 
soft,  hazy 
half-light  of 
midnight  to 
the  Islands, 
thru  the  um- 
brageous 
boulevards, 
lined  on 
either  side  by 
beautiful 
gardens  and 
palatial  man- 
sions, which 
lead  out  of 
Petrograd  to 
the  shores  of 
the  Gulf  of 
Finland. 

We  visited 
cabarets  not 
unlike  the 
Chauve- 
Souris,  but,  in 
those  distant 
and  feverish 
days,  less  re- 
strained, less 
artistic,  and 
more  remin- 
i  s  cen  t     of 


Paris  or  Berlin.  Every  man,  with  the  exception  of  the 
Tartar  waiters,  with  shaven  heads  and  in  spotless  white, 
seemed  to  be  wearing  a  uniform,  and  every  woman  wore 
a  smile,  and  on  the  stage  often  little  more.  The  sweet 
champagne  and  heavy  red  wines  of  the  Crimea  and  Cau- 
casus and  the  finer  vintages  of  France  flowed  like  water, 
and  altho  here  and  there  one  saw  a  wounded  officer  limp- 
ing to  his  seat,  with  the  assistance  of  a  solicitous  female 
friend,  there  were  few  signs  of  the  dread  conflict  which 
was  then  being  waged  from  the  Masurian  marshes  to  the 
Galician  border,  and  which  was  daily  claiming  its  thou- 
sands of  lives. 

A  little 
later  I  was 
in  Moscow, 
which  was 
even  gayer 
than  Petro- 
grad ;  its  open 
air  -t  restau- 
rant s  and 
cabarets  be- 
ing even 
more  unre- 
strained if 
possible. 
B  a  1  i  e  ff  and 
his  clever 
companions 
were  there, 
singing,  danc- 
i  n  g  a  n  d 
clowning  as 
much  for 
their  own 
pleasure  as 
for  that  of  a 
curious  pub- 
lic. It  was 
con  sidered 
chic  by  aris- 
tocratic offi- 
cial and  mili- 
tary society 
to  visit  the 
dug-out  or 
cellar  of  the 
Chauve- 
Souris,  just 
as  it  used  to 
be  the  thing 
to  do  to  go 
the  rounds  of 
the  old  cafes 
and  cabarets 
of  Mont- 
m  art  re.  Im- 
portant folk 
went  even  at 
the  risk  of 
(Cont'd  on 
page  69) 


Photograph  by  Abbe 

Nikita  Balieff,  described  in  the  program  as  "Direotor  and  Stage 
Autocrat."  Ever  and  anon,  he  emerges  from  behind  the  curtains  and 
converses  with   a   delighted   audience  in   ah   extraordinary   jargon 


Page  Twenty-Nine 


iuADOWLANO 


Norma 

and 

Constance 

Photos  by  Abbe 


The  Talmadge  sisters  joined  the 
hegira  to  Europe  in  August,  but 
not  before  Constance  had  com- 
pleted the  screen  version  of  "East 
Is  West."  soon  to   be  released 


No  less  than  two  fa- 
mous tales  have 
claimed  the  recent  at- 
tention of  Norma, 
both  with  an  Oriental 
background.  Her 
many  friends  will 
have  an  opportunity 
to  see"TheVoice  from 
the  Minaret"  and  "The 
Garden  of  Allah"  be- 
fore long 


Page  Thirty 


^UA&QWIAND 


Photo  by   Victor   Geotu 


MABEL  BALLIN 

"Married  People"  is  a  new  screen  production 
soon  to  be  released  by  the  Hugo  Ballin  Pro- 
ductions, in  which  Mabel  Ballin  will  have  the 
leading  role,  with  Percy  Marmont  playing  op- 
posite her.  Mr.  and  Mrs.  Ballin  are  looking 
for  an  interesting  screen  story,  and  may  go  to 
Italy  in  search  of  it 


I    .    .     /  hit  t\  Ui 


SUAOQWLAND 


Photos  by  Charlotte  Fairchild 


Introducing 

Fania 

MarinofT 


Versatile  is  the  only  proper  adjective 
to  apply  to  this  popular  actress  of 
Russian  birth  but  American  school- 
ing. It  was  a  big  jump  from  playing 
a  little  boy  in  "Cyrano  de  Bergerac," 
at  the  age  of  nine,  to  Marthe  Roche 
in  "The  Hero,"  and  then  to  a  comedy 
part  in  Frank  Fay's  "Fables,"  but 
Miss  Marinoff  accomplished  it  with 
apparent  ease 


Page  Thirty-Two 


SU4L>OWLANO 


When  Doctors  Disagree 

James  Joyce  and  His  Book,  "Ulysses,"  Which  Has  Become  An  International  Literary  Sensation 

By  Roscoe  Ashworth 


THERE  are  three  geniuses  of  the  New  Dispensa- 
tion who  have  successfully  vied  with  bootleggers, 
flappers  and  reconstructions st  politicians  in  com- 
pelling the  attention  of  a  world  distracted.  Freud  and 
Einstein  are  two.  The  third  is  James  Joyce,  least  dis- 
cussed, perhaps,  but  indubitably  the  most  intriguing  per- 
sonality in  the  iconoclastic  triumvirate. 

As  cunning  a  diagnostician  of  the  genus  homo  as  the 
psychologist  Freud,  Mr.  Joyce,  man  of  letters,  at  the  same 
time  reveals  a  precise,  impartial,  unemotional  mental 
equipment  comparable  to  that  of  the  man  of  science, 
Einstein.  To  a  greater  degree  than  either,  he  possesses 
an  intuitive  faculty,  which  gives  to  his  genius  superiority 
over  that  of  his  contemporaries.  Of  this  genius  his  monu- 
mental epic  in  varicolored  prose,  entitled  "Ulysses,"  re- 
cently off  the  press  at  Dijon,  France,  is  the  hall-mark. 

The  intellectual  elite  of  France,  America  and  England 
have  hailed  the  publication  of  the  Joyce  opus  as  the  most 
sensational  literary  event  of  the  year,  of  the  decade,  of 
any  time  within  living  memory.    Whatever  else  has  been 
said  of  it,  competent  opinion  is  agreed  that  the  book  is  an 
achievement    stupend- 
ous in  effort,  stagger- 
ing in  the  detail,  and  a 
little    baffling    in    the 
contents. 

The  tome  —  732 
pages  of  more  than 
octavo  size — is  uni- 
que among  books. 
Nothing  half-way  re- 
sembling it  has  been 
done  before  in  any 
language,  and  it  is  un- 
likely that  anything 
equalling  it  will  be  ac- 
complished in  future, 
however  talented  or 
ingenious  the  imita- 
tor. Only  James 
Joyce  could  have  writ-, 
ten  "Ulysses,"  which 
is  the  kind  of  feat  a 
man  does  not  perform 
twice  in  a  lifetime. 

Tho  the  book  was 
germinating  as  far 
back  as  the  Huck 
Finn  stage  of  the 
writer's  development, 
the  actual  job  of 
getting  it  on  paper 
was  not  begun  until 
the  first  year  of  the 
war.  The  writing 
continued  uninter- 
ruptedly in  Paris, 
Zurich  and  Trieste 
for  seven  years.  They 
were  seven  years  of 
strenuous     labor,     re-  In  reading  "Ulysses"  you 

quiring     prodigious  tunity    to    understand    its 


imaginative  effort.  You  will  not  be  surprised  to  learn,  then, 
that  when  Mr.  Joyce  had  finished  correcting  the  last  proof 
in  February  of  this  year  he  was  ready  to  take  his  ease. 
Limited  to  a  thousand  copies,  the  edition  was  sub- 
scribed virtually  in  its  entirety  before  the  ink  was  dry. 
Only  a  few  of  the  more  expensive  copies  are  now  avail- 
able in  Paris.  In  America  the  book  is  a  curiosity  and  is 
fetching  enormous  prices  when  it  is  privately  sold.  The 
tremendous  interest  felt  at  present  in  the  Joyce  master- 
piece has  created  a  demand  which  is  almost  certain  to  re- 
sult in  a  new  and  cheaper  edition  in  the  not  far  distant 
future.  Tho  such  things  cannot  be  positively  stated,  it 
would  not  be  amiss  to  assume  that  some  diligent  publisher 
is  eagerly  awaiting  the  opportune  moment  for  making  the 
book  accessible  to  a  wider  public.  Curiously  enough,  it 
was  an  American  and  a  woman  who  had  the  courage  to 
undertake  for  the  first  time  to  embalm.  "Ulysses"  be- 
tween two  covers.  It  will  be  interesting  to  observe  for 
whom  she  has  paved  the  way.  -It  is  well  known  that 
American  pubHshers  are  very  much  awake  in  these 
matters.    The  reception  of  the  book  since  its  appearance 

in  April  —  the.  first 
copies  were  ready  on 
Mr.  Joyce's  thirty- 
ninth  birthday  ■ —  has 
been  varied,  not  to 
say,  diverting. 

The  L o n d o n 
S  port  i  n  g  T  i  m  es . 
whose  readers  boast 
an  aesthetic  taste  equal 
to  that  of  Police 
Gazette  patrons,  by 
flamboyant  posters  an- 
nounced, ironically 
enough,  that  "Ulys- 
ses" would  be  re- 
viewed in  its  columns 
as  the  most  lurid  piece 
of  pornography  that 
had  come  London- 
wards  in  many  a  day. 
George  Bernard 
Shaw,  when  asked  if 
he  wanted  a  copy,  ex- 
pressed his  surprise 
that  anyone  could  pos- 
sibly imagine  an 
Irishman  (  ?)  paying 
three  guineas  for  a 
book  written  by  an- 
other Irishman. 

Most    of    the    staid 
and  stolid  -English  re- 
viewers   have    so    far 
refused  even  to  open 
the    enticing     blue 
covers    of    the    book. 
The    outstanding    ex- 
Photo  by  Man  Ray  ception  in  the  conser- 
have  your  best  oppor-  v  a  t  i  y  e    ranks    is 
author's    personality  {Cont'd   on  page  74) 


Page  Thirty-Three 


SUADQWLAND 


'"  "  '   .::    ...       ...     -•■       -  -..     . 


0*L 


Photo  by   Edward   Thayer   Monroe 


MADGE  KENlNEDY 

tier  winsome  beauty  and  histrionic  ability  wilt  soon  be 
seen  in  the  screen  version  of  "Dorothy  Vernon  of  Haddon 
Hall."  The  medieval  romance  which  had  many  admirers, 
both  as  a  novel  and  on  the  stage,  will  doubtless  be 
equally  popular  with  silversheet  enthusiasts 


Page  Ihuty-t  ow 


Su£TOWLAND 


Call  the  Play-Doctor 

Wherein  Are  Set  Forth  the  Advantages  to  be  Gained  by  Not  Following  in  the  Footsteps  of  Shaw 

By  Frank  J.  Wilstach 


THE  astute  Dion  Boucicault  once  said  that  "success- 
ful plays  are  not  written;  they  are  rewritten." 
Boucicault's  name  appeared  on  many  plays,  but  in 
point  of  fact,  all  of  them,  like  Shakespeare's,  were  old 
plays  rewritten.    Boucicault  was  a  masterly  Play-Doctor. 

It  has  been  said  that  "The  Play-Doctor  is  the  accou- 
cheur of  the  drama."  It  seems  to  me  that  this  is  a  mislead- 
ing metaphor.  The  Play-Doctor,  to  achieve  anything 
worth  while  with  the  dramatist's  bairn,  must  have  it  come 
to  him  a  full-grown,  healthy  individual.  It  is,  then,  as 
the  family  physician, 
that  he  must  begin  to 
watch  over  the  off- 
spring till  it  reach  a 
ripe  and  healthy  ma- 
turity. 

Who  was  William 
Shakespeare?  He  was 
the  rewrite  man — the 
Play-Doctor,  of  the 
Globe  Theater,  Bank- 
side,  London. 


Now  along  comes 
Keble  Howard,  the 
English  dramatist,  who 
states  that  "A  well- 
constructed  and  well- 
written  play  is  like  a 
house  of  cards.  Pull 
one  card  away,  and 
down  comes  the  whole 
fabric.  That  is  a  thing 
nobody  understands  ex- 
cept the  dramatist. 
Over  and  over  again  it 
has  happened  that  the 
dramatist,  with  minute 
care  and  extraordinary 
patience,  has  built  his 
card-house.  It  is  com- 
plete. It  is  presented 
— not  perfect,  perhaps, 
but  as  complete  as  skill 
can  contrive.  Then 
somebody  thinks  to  im- 
prove it  by  pulling  out 
a  card  or  two,  and 
shoving  in  something 
foreign  to  the  struc- 
ture. Down  comes  the 
whole  affair,  and  the 
first-night  audience 
sees  merely  the  wreck- 
age of  what  the  drama- 
tist so  patiently  and 
carefully  built." 

Play-Doctors  of  a  high  order  of  intelligence  do  not 
"shove  in  something  foreign  to  the  structure."  That  is 
the  work  of  a  deplorable  bungler.  The  picture  drawn  by 
Keble  Howard  presupposes  a  dramatist  who  is  amazingly 
expert.  To  meddle  with  such  a  play  would  be  in  the 
nature  of  a  crime.  Unless,  however,  the  dramatist  is  so 
skilful  that  he  has  been  able  to  provide  a  perfect  product, 
thru   a  transcendent   knowledge   of   the   theater — a   rare 


\*0RNftR<X 

SAMUEL  SHIPMAN 
Author  of  the  tremendously  successful  "Lawful  Larceny," 
co-author   of   "East   Is   West,"   "Friendly   Enemies,"   and 
also    on    occasion    a    Play-Doctor    of    rare    intelligence 


craftsman  by  the  way — his  play,  without  ministrations, 
would  be  a  sorry  business. 

There  are  two  dramatists  of  the  English  stage  of  to- 
day who  refuse  to  allow  any  changes  whatever  to  be  made 
in  the  text  of  their  plays.  They  are  Arthur  Wing  Pinero 
and  George  Bernard  Shaw.  It  is  pretty  much  a  matter  of 
egotism,  I  would  say,  that  causes  Mr.  Shaw  to  put  this 
incubus  on  plays  from  his  pen.  It  will  hardly  be  denied 
that  many  of  them  would  have  proved  very  much  more 
acceptable  for  the  theater  had  he  permitted  the  assistance 

of  an  expert  Play- 
Doctor.  Mr.  Pinero, 
on  the  other  hand,  is 
not  only  able  to  devise 
highly  interestirig 
stories,  but  his  knowl- 
edge as  an  actor  fits 
him  to  produce  them 
adroitly,  efficiently, 
scientifically. 

In  the  same  class 
with  Pinero  are  David 
Belasco  and  the  late 
Clyde  Fitch.  Mr. 
Fitch,  like  Mr.  Belasco, 
rewrote  his  plays  at  re- 
hearsals. He  was  in 
thoro  accord  with  the 
Dion  Boucicault  dic- 
tum. Those  who  were 
present  at  a  Clyde 
Fitch  rehearsal  soon  be- 
came aware  that  he  did 
not  lay  any  great  store 
on  anything  he  had 
written  before  produ:- 
ing.  It  was  his  custom, 
not  only  to  ask  the  ac- 
tors how  they  felt 
about  a  scene,  but  also 
anybody  who  hap- 
pened to  be  present.  If 
anyone  could  give  a 
good  reason  for  any 
new  piece  of  business 
or  any  change  in  busi- 
ness, Fitch  at  once  ac- 
cepted the  idea  and 
then  and  there  rewrote 
the  scene.  Mr.  Belasco 
does   the   same   thing. 

There  is  no  more  ex- 
pert reviser  of  a  play 
during  rehearsal  than 
George  M.  Cohan.  I 
have  happened  to  he  in  the  theater  when  Mr.  Cohan  was 
either  rehearsing  a  play  or  revising  it  during  production 
out-of-town.  I  have  seen  him  at  performance  after  per- 
formance with  a  note-book  in  his  hand  and  have  seen  him 
the  following  day  make  change  after  change  in  lines  and 
situations.  One  of  the  most  remarkable  examples  of  play- 
doctoring  was  that  by  Mr.  Cohan  in  remodeling  "A 
Prince  There  Was."  The  play  was  produced  and  failed. 
{Continued  on  page  73) 


Page  Thirty-Five 


SuAPQWLAND 


Specimen  of  the  recent  work 
of  Massaguer,  the  best  known 
of     Cuban     caricaturists 


(Left)  Don  Ramon  Inclan, 
by  Sirio,  the  foremost  cari- 
caturist   of    South    America 


Caricature  of  Wilson,  by  the 
German,  Thony,  leader  of  the 
"Simplicissimus"     group 


(Right)  Sketch  by  Gulbrans- 
sen,  of  Norway,  the  greatest 
modern    master    of    caricature 


Enrique  Camargo,  by  Tovar,  Spain's  most 
proficient    and    prolific    caricaturist 


(Right)    An   unfamiliar   self-portrait   by   Max 
Beerbohm,  reproduced  from  the  "Chap-Book" 


Caricature  of  the  Kaiser,  by  Tirelli, 
an   Italian   master   of  the   grotesque 


Page  Thirty-Six 


Su4DOWl4NB 


The  Exacting  Art  of  Caricature 

Depending  on  the  Creator's  Understanding  of  Motives,  a 
Caricature  Assumes  Qualities  Unnecessary  to  a  Cartoon 

B;y  Willard  Huntington  Wright 


THE  word  caricature — like  the  word  artistic — has 
almost  completely  lost  its  significance  thru  •promis- 
cuous and  loose  usage.  Any  schoolgirl  with  a 
slight  talent  for  sketching  likenesses,  who  draws  a  ludi- 
crous picture  of  her  teacher,  has  achieved  a  "caricature" ; 
and  any  journeyman  newspaper  cartoonist  who  makes  a 
series  of  specious  pen-portraits  of  "leading  citizens"  or 
local  politicians,  is  likewise  set  down  as  a  "caricaturist." 
There  are  even  correspondence  schools  of  art  which 
guarantee  to  metamorphose  rising  young  clerks  into 
"caricaturists"  in  a  brief  course  of  easy  lessons  which 
can  be  mastered  between  dinner  and  bedtime. 

Caricature  in  the  true  sense,  however,  is  something  of 
an  entirely  different  nature.  It  is  a  highly  specialized 
and  sophisticated  art  which 
appears  only  during  a  na- 
tion's prolific  maturity, 
when  intellectual  values 
have  been  established, 
when  the  tools  of  art  have 
been  keenly  sharpened,  and 
when  the  creative  mind  has 
attained  a  philosophic  in- 
sight. In  fact,  a  good  cari- 
cature is  as  much  a  matter 
of  intellectual  penetration 
and  analytical  acumen  as  it 
is  of  craftsmanship  and 
technique. 

It  is  erroneous  to  regard 
a  mere  distorted  and  bur- 
lesqued likeness  of  a  type 
or  of  an  individual — how- 
ever fluent  or  masterly  it 
may  be — as  a  caricature. 
Such  work,  properly  speak- 
ing, is  a  cartoon ;  for,  in 
order  to  achieve  success,  it 
need  be  neither  critical  nor 
analytical ;  it  need  not  pene- 
trate beneath  the  surface,  or 
even  concern  itself  with  the 
inner  truth  of  its  subject. 

Caricature,  on  the  other  hand,  is  a  thing  of  interna! 
values,  dependent  upon  its  creator's  understanding  of 
motives  and  causes.  It  deals  with  the  subterranean  im- 
plications of  visual  form,  and  is  at  once  revelatory  and 
instructive.  A  caricature  is  possible  only  when  the  art- 
ist knows  his  subject  thoroly,  and  has  grasped  the  hidden 
salients  of  mind  and  character.  Whereas  cartooning  is 
the  parody  of  the  graphic  art,  caricature  has  its  literary 
counterpart  in  satire  ;  for  it  embodies — in  addition  to  the 
outer  aspect — an  accurate  interpretation  and  a  vivid 
appraisement  of  its  theme.  Caricature,  in  fine,  is  psycho- 
logical analysis  in  terms  of  visual  life,  and  requires,  for  its 
prosecution,  a  scholarly  and  analytical  mind  closely  and 
almost  instinctively  synthesized  with  a  highly  developed 
and  sensitively  refined  technique. 

Far  from  being  a  mere  meteoric  ephemera,  the  art  of 
caricature  possesses  an  evolution  of  accumulative  experi- 
mentation and  slow  logical  development  such  as  marks 
the  progress  and  growth  of  all  the  other  and  higher  arts. 
It  began  merely  as  pictorial  comedy  and  burlesque — a 
handmaiden  to  literary  humor.     Then  it  became  fantastic 


Portrait-sketch    of    Hindenburg,    by    our 
own  American  caricaiurist,  Ralph  Barton 


and  grotesque,  tho  still  purely  visual  in  conception  and 
appeal,  and  without  animating  purpose.  Gradually  it 
came  to  be  used  as  a  weapon  and  as  a  means  of  propa- 
ganda. Later  still,  taking  on  an  interpretative  quality,  it 
drifted  into  vicious  grotesqueries  and  delirious  imagin- 
ings. Emerging  from  this  stage,  it  allied  itself  with 
contemporary  life,  growing  more  and  more  personal  and 
specific.  Then,  having  reached  a  certain  documentary 
profundity,  it  dealt  with  ideas  and  principles — with  pol- 
itics, religion,  and  human  psychology.  Finally,  it  became 
philosophical,  and  was  able  to  penetrate  to  hidden  causes 
and  to  grapple  with  the  deeper  concerns  of  humanity, 
both  individual  and  typical. 

The  word  caricature,  as  a  distinguishing  term,  did  not 

come  into  existence  or  pos- 
sess its  present  connotation 
until  toward  the  close  of 
the  eighteenth  century,  at 
which  time  the  practice  of 
caricature,  having  divorced 
itself  from  mere  visual 
humor,  had  developed  its 
own  medium  and  had  come 
to  be  recognized  as  a  dis- 
tinct art  form. 

Despite  the  fact  that  the 
early  Romans  practised  a 
limited  and  superficial  type 
of  pictorial  caricature, 
comic  artists  were  not  held 
in  high  repute ;  and  the  real 
caricaturists  of  the  an- 
cients were  writers  such  as 
Martial  and  Aristophanes. 
However,  the  spirit  of 
comedy  in  graphic  art  per- 
sisted;  and  in  the  Middle 
Ages  there  was  a  veritable 
saturnalia  of  fantastic  and 
outlandish  pictures,  designs 
and  images. 

During  this  epoch  the 
aesthetic  imagination  ran 
wild,  projecting  itself  into  every  type  of  obscene  and  gro- 
tesque conception ;  and  all  manner  of  grim  and  bizarre 
diableries  abounded.  Out  of  this  wild  and  prolific 
debauch  of  the  imagination  came  the  gargoyle,  which 
alone  has  survived  with  any  degree  of  permanent  artistic 
interest;  altho  our  popular  conception  of  the  devil  as  a 
tall,  sardonic  gentleman  with  cloven  feet,  spiked  tail  and 
satyr's  horns — as  well  as  our  conception  of  death  as  a 
sinister  animated  skeleton — are  heritages  from  this  period. 
The  age  culminated  in  Holbein's  "Danse  Macabre"  at  the 
beginning  of  the  sixteenth  century. 

The  earliest  indication  of  the  modern  spirit  of  carica- 
ture occurred  during  the  Renaissance— a")^ epoch  abound- 
ing in  travesty  in  comic  art,  and  -  numbering  Leonardo 
and  Michelangelo  among  its  practitioners.  The  impetus 
toward  graphic  irony  seems  not  to  have  grown  suffi- 
ciently strong  to  override  all  opposition  ;  for  the  Restora- 
tion proved  richer  than  the  Renaissance  in  pictorial  satire. 
Callot,  early  in  the  seventeenth  century,  produced  his 
famous  grotesqueries  —  "Caprices"  —  and  foreshadowed 
the  advent  of  Hogarth  and  Goya.     The  Dutch  became 

Page  Thirty-Seven 


SuMDOWLAND 


masters  of  this  new  medium,  and  their  caricatures  were 
disseminated  over  all  Europe.  Pieter  Breughel  and  later, 
De  Hoogh — a  disciple  of  Callot's — were  the  leaders  of 
this  florescence ;  and — with  the  notable  exception  of 
France,  where  caricature  had  been  placed  under  the  ban — ■ 
nearly  every  European  nation  contributed  to  this  newly 
developed  art  type. 

The  Prolific  Eighteenth  Century 

The  eighteenth  century,  also,  proved  a  prolific  age  in 
caricature,  both  graphic  and  literary.  In  pictorial  art  it 
gave  us  such  widely  dissimilar  men  as  Gillray,  Hogarth, 
Rowlandson,  Sandy,  Collet,  Cochin,  Vernet,  Saint-Aubin, 
Bosio,  Boilly,  Isabey  and  Goya.  And  during  the  first 
half  of  the  nineteenth  century,  we  find  men  like  Cruik- 
shank,  Charlet,  Grandville,  Raffet,  Decamps,  Pigal, 
Travies,  Monnier,  Hassenclever  and  Richter  engaged  in 
various  styles  of  caricaturistic  art. 

But  modern  caricature,  as  we  know  it  today — highly 
specialized  and  definitely  circumscribed — began  with 
Daumier.  the  greatest  of  all  modern  masters  of  graphic 
satire.  With  his  surpassing  talent  for  pictorial  analysis 
he  combined  the  sensitive  instinct  of  the  profound  creative 
artist ;  and  his  reputation  rests  even  more  on  his  contribu- 
tions to  the  evolution  of  modern  aesthetic  means,  than  on 
his  capabilities  as  a  satiric  draughtsman.  Philipon,  "the 
father  of  comic  journalism,"  founded  La  Caricature  in 
1831,  and  after  its  suppression  four  years  later,  Lc 
Charivari;  and  it  was  thru  these  publications  that  the 
genius  of  Daumier — as  well  as  that  of  Gavarni,  Grand- 
ville and  Cham — was  given  to  the  world. 

Gavarni  ranks  second  to  Daumier  among  the  early 
masters  of  modern  pictorial  portraiture.  Grandville  was 
less  mordant  and  less  exaggerated,  tho  always  penetrating 
and  scholarly ;  and  Cham,  who  worked  with  great  f  ree- 
ness  of  technique  in  pen-and-ink,  adhered  to  a  kind  of 
Zolaesque  naturalism  of  theme  and  excution.  These  four 
men  established  the  terrain  of  the  art  of  contemporary 
caricature. 

No  precise  mental  attitude  or  specific  stylistic  method, 
however,  can  be  traced  in  the  modern  development  of 
caricature.  In  fact,  the  very  nature  of  caricature  pre- 
cludes any  such  unity  of  spirit  or  form  ;  for,  of  all  the 
lesser  arts,  it  is  perhaps  the  most  intensely  personal. 
Moreover,  national  influences  affect  it ;  it  is  fashioned  by 
the  existing  temper  of  society ;  and  it  reflects  the  con- 
sciousness of  the  times  in  which  it  is  conceived. 

For  instance,  in  England  in  the  nineteenth  century  we 
find  Pellegrini  ("Ape")  doing  his  great  series  of  modern 
mimetic  portraits  in  J'anity  Fair;  Leech  making  genre 
pictures  on  homely,  genial  themes ;  Caldecott  sketching 
his  whimsical  and  mildly  humoristic  oddities,  the  gracile 
and  somewhat  dignified  Crane  doing  bizarre  illustrations 
for  fairy  tales ;  DuMaurier  and  Keene  engaged  in  in- 
timately human  studies  and  sympathetic  social  pas- 
quinades ;  Tenniel  executing  full-page  political  cartoons 
in  Punch;  Reed  dealing  in  drolleries  and  whimsicalities ; 
Baxter  playing  the  buffoon  and  f arcicist ;  and  Phil  May 
combining  the  jester's  wit  with  the  humanitarian's  sense 
of  pity. 

Characteristics  of  the  French  Art 

In  France  we  discover  a  decidedly  different  national 
influence  at  work.  Andre  Gill,  vigorous  and  original, 
sought  the  spirit  rather  than  the  image ;  and  tho  he 
devoted  much  of  his  time  to  being  a  political  silograph,  he 
also  gave  us  many  memorable  drawings  of  human  gen- 
eralities. Willette,  an  illustrator  and  poster  artist  of  the 
Cheret  type,  was  a  delicate,  whimsical  draughtsman  of 
travesties,  at  times  sentimental,  at  others  piquant,  but 
always  adhering  closely  to  actuality.  Grevin  was  a  high- 
class  comic-paper  illustrator,  with  delicacy  of  line,  who 


only  occasionally  indulged  in  personalities.  Leandre's 
talent  lay  in  his  ability  to  exaggerate  facial  characteristics 
until  they  were  almost  monstrous,  and  still  to  retain  an 
exact  likeness  of  his  subject.  And  Caran  d'Ache  was  a 
witty  and  ludicrous  pictorial  story-teller,  with  a  simple, 
unencumbered  technique. 

Toulouse-Lauterc,  Forain,  and  Louis  Legrand  repre- 
sent the  height  of  modern  French  caricature.  All  were 
profound  students  of  life  and  humanity;  and  all  were 
technical  experts.  Lauterc's  search  was  for  character, 
and  in  the  faces  of  his  subjects  we  can  read  their  inner- 
most secrets,  and  reconstruct  their  entire  day's  activities. 
Legrand,  who  illustrated  Edgar  Allan  Poe's  tales,  glories 
in  grotesqueries,  and  depicted  the  moral  decay  of  his 
characters  with  neither  sympathy  nor  disgust.  Forain's 
work  is  characterized  by  an  iconoclastic  and  acidulous 
cynicism.  He  possesses  shrewd  analytical  powers,  coupled 
with  an  almost  miraculous  ability  to  snatch  aside  the  cur- 
tain from  worldly  hypocrisy.  His  drawings  have  touched 
caustically  upon  nearly  every  phase  of  contemporary  life. 
Forain  is  one  of  the  world's  few  great  masters  of  cari- 
cature. Without  him,  it  is  problematical  whether  the 
work  of  Steinlen  or  Hermann  Paul  would  exist  in  its 
present  form ;  for  both  these  eminent  draughtsmen  owe 
much  to  the  influence  of  Forain's  genius. 

Germany  during  the  nineteenth  century  gave  us  VVil- 
helm  Busch,  one  of  that  nation's  most  brilliant  comic 
technicians.  He  produced  his  effects  with  the  most  rigid 
economy  of  means ;  and  this  skill,  coupled  with  his  in- 
tellectual insight,  gave  him  a  place  of  pre-eminence  among 
German  caricaturists.  Obelander  was  a  caricaturist  in 
the  true  sense  of  the  word,  and  a  dexterous  technician  as 
well,  altho  of  a  less  trenchant  type  than  Busch.  Reinicke 
possessed  much  of  the  comic  modern  spirit  of  Punch  and 
many  of  his  illustrations  could  be  reproduced  in  that 
journal  today  without  creating  the  effect  of  anacronism. 
Hengeler  was  less  dexterous,  but  his  humor  was  more 
biting  and  cynical  than  either  Busch's  or  Reinicke's. 

The  Work  of  Contemporary  Artists 

Before  coming  to  the  more  modern  and  contemporary 
men  a  word  should  be  said  of  Felicien  Rops,  the  Flemish 
artist.  Rops's  imagination  was  an  atavistic  heritage  from 
the  Middle  Ages,  and  his  illustrations  for  Till  Eulen- 
spiegel,  as  well  as  numerous  of  his  other  drawings,  may 
best  be  described  as  an  art  of  satanism.  His  successors 
today  are  men  of  the  Heinich  Kley  type.  But,  despite 
his  frenzied  extravaganzas,  his  technical  influence  was 
tremendous ;  and  he  colored  much  of  the  fantastic  art 
which  came  after  him. 

Briefly,  then,  these  are  the  foundations  on  which  the 
art  of  contemporary  caricature  has  been  built.  Today, 
however,  it  is  a  definite  and  restricted  craft,  highly  con- 
centrated and  painstakingly  perfected.  It  has  divorced 
itself  from  mere  humor  and  burlesque,  and  from  literary 
and  documentary  inspirations.  In  its  purest  manifesta- 
tions it  is  unembellished  philosophic  portraiture. 

The  finest  examples  of  caricature  are  to  be  found  in 
Flicgcndc  Blatter,  Jugendc,  Das  Narrenschiff,  and  Sim- 
plicissimus.  Heine  is  perhaps  the  most  prolific  and 
diverse  of  the  modern  Germans.  He  works  in  many 
styles,  and  in  each  he  exhibits  a  rare  mastery.  His  field 
of  subjects  is  also  a  broad  one,  tho  intellectually  he  al- 
ways remains  the  energetic  doctrinaire.  Thony  bases  his 
technique  on  old  wood-cuts,  and  largely  thru  his  influence 
a  new  and  popular  type  of  graphic  execution  was  evolved. 
Thony's  mannerism  has  become  so  perfectly  assimilated 
that  it  expresses  his  ideas  with  amazing  fluency.  His 
caricatures  are  bitter  and  cruel,  yet  they  rarely  deviate 
from  the  truth.  Von  Blix  is  of  the  same  uncompromising 
temper ;  but  his  dexterity  is  of  a  lesser  strength,  and  his 
{Continued  on  page  68) 


Page  Thirty-Eight 


StlADOWLAND 

Shown  at  the 

Southampton 

Exhibition 


"Crowded  Harbor,"  by 
Felice    Waldo    Howell 


"Flower  Arrangement" 
by    Maud    M.    Mason 


The  canvases  represent  a  delight- 
ful group  of  paintings  by  distin- 
guished women  artists,  all  members 
of  the  National  Association  of 
Women  Painters  and  Sculptors,  of 
which  Mrs.  Emily  Nichols  Hatch  is 
president,  and  Mrs.  Joseph  H. 
Choate,  Mrs.  John  Henry  Ham- 
mond, Mrs.  Charlotte  Coman  and 
Mrs.  H.  Van  Buren  Magonigle  are 
honorary  vice-presidents.  The  ex- 
hibition was  held  in  the  Memorial 
Hall   of   the   Parrish  Art  Museum 


"Cloud  and  Shadow'' 
by      Lucile      Howard 


Page  Thirty-Nine 


SuADOWLAND 


l'hoto  by  Francis  Bruguiere 


JOSEPHINE  MacNICOL 

JT  hose  graceful  dancing  is  one  all-sufficient  reason  for  the  success 
of  the  fourth  annual  production  of  the  "Greenwich  Village  Follies" 


r<i<jc  Forty 


SUADQWLAND 


American  glass  Cup  Plate.  Show- 
ing the  portrait  of  Henry  Clay.  In 
the  Collection  of  W.  G.  Bowdoin 


m 
Mm 

.  -,. 

Cup  Plate  of  Willow  Pattern. 

In  the  Collection  of  W.  G. 

Bowdoin 


J;*£m 


American  glass  Cup  Plate.  Show- 
ing the  Frigate  Constitution.  In 
the  Collection  of  W.  G.  Bowdoin 


"•*/;  V 


Cup  Plate  of  Staffordshire  Luster. 

In  the  Collection  of  W.  G. 

Bowdoin 


American   glass  Cup  Plate. 

In  the  Metropolitan  Museum 

Collection 


Cup  Plates  of  Olden 

Times  as  Collection 

Objects 

ffy  W.  G.  Bowdoin 


NC< 


MM 


American   glass  Cup  Plate.     Gro- 
tesque subject.     In  the  Metropoli- 
tan   Museum   Collection 


THE  first  tea  was  brought  into  Europe  in  1610.  It 
was  known  in  France  in  1636,  and  reached  Russia 
two  years  later.  England  welcomed  it  in  1650,  and 
spoke  of  it  as  "That  excellent,  and  by  all  physicians  ap- 
proved, China  drink,  called  by  the  Shineans  Tcha,  and 
by  other  nations,  Tay,  alias  Tee." 

Like  all  the  good  things  of  the  world,  the  propaganda 
of  tea  met  with  opposition.  Heretics  like  Henry  Saville 
(1678)  denounced  drinking  it,  as  a  filthy  custom.  Jonas 
Hanway  (Essay  on  Tea,  1756)  said  that  men  seemed  to 
lose  their  stature  and  comeliness,  women  their  beauty, 
thru  the  use  of  tea. 

Something  of  this  is  reflected  in  a  drinking  song  of 
the  period — 

To  drink  is  a  Christian  diversion, 
Unfit  for  your  Turk  or  your  Persian ; 

Let  Mohammedan  fools  live  by  heathenish  rules, 
And  get  drunk  over  teacups  and  coffee; 

But  let  British  lads  sing,  give  a  rouse  for  the  King, 
A  fig  for  your  Turk  and  your  Sophi. 

Yet  in  spite  of  such  handicaps,  tea-drinking  spread 
with  marvelous  rapidity.  The  coffee-houses  of  London 
in  the  early  half  of  the  eighteenth  century  became  in  fact 
tea-houses,  the  resort  of  wits  like  Addison  and  Steele,  who. 
beguiled  themselves  over  their  dish  of  tea. 

The  beverage  soon  became  a  necessity  of  life — a  tax- 
able commodity.  It  led  to  the  revolt  of  the  American 
Colonies  because  of  the  heavy  duties  laid  upon  tea. 

The  Boston  Tea  Party  was  the  logical  result. 

Meanwhile  the  drinking  of  tea  had  exercised  a  pow- 
erful influence  upon  table  furnishings,  and  the  teacups 
and  saucers,  as  well  as  the  teapots,  showed  this  influ- 
ence in  the  continued  improvement  in  the  fictile  designs 
that  obtained. 

Our  ancestors  in  England,  and  later  in  this  country,  in 
their  tea-drinking  habits,  had  no  traditions  to  live  down, 
or  to  destroy.  They  poured  their  tea  into  their  saucers, 
and  then  drank  therefrom  shamelessly,  and  even  with 
bravado.  When  they  did  this,  they  had  no  place-  to  put 
the  cups,  and  our  ancestral  housekeepers  could  not  stand 
the  marking  of   their   snowy   linen  or  the   polished    San 


Domingo  mahogany,  with  the  rims  of  the  moist  teacups, 
and  so  cup  plates  originated  to  fill  a  long  felt  want. 

The  collecting  of  cup  plates  nowadays  is  beset  with 
many  difficulties. 

All  the  pieces  of  historic  sets  appear  to  have  survived, 
except  these  miniature  plates. 

Some  writers  try  to  explain  this  by  suggesting  that 
the  cup  plates  ultimately  found  their  way"  into  the  hands 
of  destructive  children  with  tremendous  mortality,  on  the 
part  of  the  said  plates.  This  may  be  one  reason  for  their 
scarcity.     They  surely  are  scarce. 

In  spite  of  their  scarcity,  however,  the  late  Miss  Clark 
of  South  Framington,  Mass.,  specialized  on  collecting 
these  cup  plates,  and  succeeded  in  assembling  over  400 
pieces,  which  were  shown  at  The  Boston  Museum  of 
Fine  Arts  in  August,  1916.  Among  these  was  a  rare 
"Beauties  of  America"  cup  plate,  which  had  on  it  a  pic- 
ture of  the  Baltimore  Exchange.  Other  notable  exhibits 
in  this  collection  were  a  "Stoughton  Church,  Philadel- 
phia," with  the  acorn  border,  "Mendenhall  Ferry," 
"Savannah  Bank,"  and  the  "Pittsfield  Elm." 

"Mendenhall  Ferry"  is  quite  unusual  on  a  cup  plate, 
yet  two  five-and  one-half -inch  plates,  with  this  rare  view 
upon  them,  have  come  to  light  in  a  negro  cabin. 

"The  Savannah  Bank"  is  more  unusual  still.  Other 
rare  plates  in  the  A.  Josephine  Clark  collection,  were  the 
Syntax,  Wilkie  and  Don  Quixote  designs.  The  collec- 
tion was  dispersed  before  the  death  of  the  owner. 

The  popularity  of  these  cup  plates  was  very  great. 
They  ranged  in  size  from  three  to  four  and  a  half,  or 
even  five  inches,  in  diameter. 

There  were  two  kinds  of  cup  plates.  One  of  pressed 
glass  and  the  other  of  pottery  forms,  as  produced  by  the 
Staffordshire  potters,  for  the  American  market,  and 
] dates  turned  out  by  American  manufacturers. 

The  pressed  glass  varieties  carried  such  subjects  as 
Bunker  Hill  Monument,  The  Frigate  Constitution,  The 
American  Eagle,  the  portrait  of  Henry  Clay,  geometrical 
designs  and  decorative  devices.  At  least  one  grotesque 
design  was  used. 

(Continued  on  page  76) 


Pane  Forty-O' 


SuiADQWl/XND 


"Tosca,"  a  la  Winter  Garden. 
James  Watts  and  Annan  Kaliz 


Raymond  Hitchcock,  the  inimita- 
ble— to   judge   by    the   numerous 
imitations  we've  seen 


^ 


If  you  only  give  him  enough 
rope,  he'll  amuse  you.  Will 
Rogers  in  the  "Ziegfeld  Follies" 


After  the  Smith  Brothers, 
the  two  best-known  men  in 
America.  Messrs.  Gallagher 
and  Shean.    In  the  "Follies" 


Michio  Itow—several  of  him,  ap- 
parently—in   "The    Pin     Wheel" 


Reginald  Marsh 

Visits 

Broadway 

and 

Wields  a 

Wicked  Pencil 


Page  Forty-Tivo 


SuiADOWLAND 


Dada  and  the  Dadas 

B;y  Alfred  Kreymborg 


WHEN   Paris  is  bored,  sad,  weary,   Paris  takes 
to  the   latest   fad.     There   is   always   something 
perennial  about  the  old  lady  who  has  lived  thru 
so  many  centuries  of   war,  foreign  wars,  civil  wars,  re- 
ligious   and    revolutionary,   and    who   still   moves    slowly 
and    painfully,    as    with    a    crutch,    to    the    millions    of 
memories — one  sees  deep  mourning  everywhere — of  the 
late  world  war.     And  so,  Paris  linked  her  ancient  arm, 
which  has  graciously  and  gaily  accepted  so  many  advances 
heretofore,  with  the  very  newest  of  brazen  youths :  the 
Dadas.     That  is  why  the  city  on  the  Seine  is  still  the 
wisest  as  well   as   the  loveliest  of  cities,   and  the  most 
civilized.     For  only  when  one  has  achieved  civilization, 
can   one    afford    to    be 
foolish,     absurd,     non- 
sensical.    If  it  has  any 
meaning    at    all,    Dada 
means  nonsense. 
Francis     Picabia,     one 
of  its  leaders — whom  I 
first    encountered    in 
New    York    ten    years 
ago — defines     Dada 
thus : 

Dada  smells  of  nothing,  it 
is    nothing,    nothing, 
nothing 
It  is  like  your  hopes  :  noth- 
ing 
like  your  paradise  :  noth- 
ing 
like  your  idols  :  nothing 
kke   your    politicians  : 

nothing 
like  your  heroes  :  nothing 
like    your    artists :    noth- 
ing 
like  your  religions  :  noth- 
ing | 

Dada,  in  short,  ex- 
presses the  disillusion- 
ment of  youth,  of  ado- 
lescence. Those  who 
went  into  the  war 
penetrated  it  with  a 
complete  illusion  of 
some  sort,  only  to 
come  out  with  nothing 
more  tangible  than 
utter  disillusionment. 
Dada  is  the  result. 
Dada  is  the  tragedy  of 
disappointment,  and 

like  so  many  tragedies,  lest  it  go  mad  or  commit  suicide, 
wears  the  mask  of  comedy,  buffoonery,  farce.  Farce 
is  what  Dada  wears  most  of  the  time. 

I  have  met  many  of  the  Dadas.  They  are  charming 
fellows.  I  like  especially  one  of  the  Daddies  of  Dada — 
a  Roumanian — with  the  picturesque  name,  Tristan  Tzara. 
We  have  had  several  seances.  Fie  is  small,  and  like  most 
small  men,  patient.  He  is  hardly  bigger  than  Napoleon, 
and  like  Napoleon,  plans  the  campaigns  of  Dada,  and 
like  Napoleonic  campaigns,  Dadaist  campaigns  come  to 
nothing.  Small  men  have  farther  to  go  than  tall,  and 
so  they  are  patient,  as  Tzara  was  patient  elucidating  the 
manifold  mysteries  of  Dada.  He  is  the  spokesman  of 
Dada,  has   drawn  up  many   of   its  engaging  manifestos, 


Yes,  this  is  a  portrait  of  a  man.    It  is  Arp's 
portrait  of  Tristan  Tzara,  a  founder  of  Dada 


which  are  printed  on  broadsheets  and  billboards  and  dis- 
tributed to  the  four  winds.  He  is,  as  Marcel  Duchamp 
expresses  it,  the  "traveling  salesman"  of  Dada,  its  press 
agent  everywhere.  The  publicity  campaign  would 
stagger  the  mightiest  American  drummer.  Heinz's  57 
Varieties,  Smith  Brothers'  Cough  Drops,  Carter's  Little 
Liver  Pills,  The  Ingersoll  Watch — these  and  our  other 
countless  familiars  might  learn  much  from  Dada.  There 
have  been  no  less,  Tzara  tells  me,  than  twelve  thousand 
articles  about  Dada,  articles  which  have  appeared  in  France, 
England,  Italy,  Switzerland,  Germany,  Russia  and  the 
Balkans.  Dada  is  almost  universal.  There  are  Dada 
movements    in    the    shape    of    magazines,    art    galleries, 

theaters  or  concert 
halls  in  all  of  these 
countries.  Even  New 
York  has  a  modest 
little  group,  led  by  the 
painters,  Man  Ray  and 
Joseph  Stella,  and 
Edgar  Varese,  French 
conductor  of  the  late 
New  S  y  m  p  h  o  n  y 
Orchestra. 

Dada  was  born  dur- 
ing the  year  1916  in 
the  Cabaret  Voltaire 
in  Zurich,  Switzerland. 
It  was  founded  by 
men  of  different  na- 
tionalities, Tzara,  a 
Roumanian ;  Arp,  a 
Swiss,  and  Huelsen- 
beck,  a  German,  in  all 
the  innocence  of  men 
foregathering  in  a  neu- 
tral cafe  for  discussion 
of  the  relative  merits 
of  the  particular  art 
movement  to  which 
they  belonged :  Tzara 
to  the  Expressionists, 
Arp  to  the  Futurists, 
Pluelsenbeck  to  the 
Cubi.;ts.  Each  decided 
to  lay  down  the  arms 
of  his  own  creed  in  be- 
half of  a  broader  plat- 
form of  international- 
ism in  art  in  which 
there  must  be  no 
To  Tzara  belongs  the 
credit  of  finding  the  name  for  the  movement,  Dada, 
which  derives  from  the  French  word  for  hobby-horse. 
"All  is  Dada,"  writes  Paul  Dermee,  "everyone  has  his 
hobby-horse.  You  worship  your  Dadas,  of  which  you 
have  made  gods.  The  Dadaists  know  their  Dadas  and 
laugh  at  them.  It  is  their  great  superiority  over  you." 
There  was  no  expectation  on  the  part  of  the  three  con- 
spirators that,  from  the  privacy  of  cafe  gossip,  Dada 
would  break  out  into  a  European  disease.  Each  man 
was  to  do  his  work  in  his  own  way :  the  old  song  of  the 
individual  evolving  his  own  salvation.  Nevertheless, 
Dada  soon  spread  to  a  brotherhood  which  denied  all  isms, 
(Continued  on  page  70) 


recognized  language  or  symbol. 


Page  Forty-Three 


SuADOWLAND 


Photo  by  NicKoias  Muray 


BLANCHE  YURKA 

Distinguished  ictress,  and  entrant  in  the  beauty  contest, 
icho  plans,  among  other  interesting  things,  to  do  a  series  of 
special  matinees  next  winter  of  Maeterlinck's  "Mona  Vanna" 


Page  Forty-Four 


^UADOWLAND 


Of  Which  Song  Is  Made 


B;y  Gladys  Hall 


"Still  loving  song,  but  loving  more 
Life,  of  which  song  is  made  .  .  ." 

THESE  words  are  Harry  Kemp's  autobiography. 
They  tell  the  whole  of  him.  They  tell  him  so  val- 
iantly and  so  well  that  to  attempt  further  delinea- 
tion seems  to  profane  something  simply  and  exquisitely 
executed.  To  go  on  makes  for  mere  words  .  .  .  For, 
unwittingly,  perhaps ;  felicitously,  certainly,  he  has 
summed  up  his  existence  and  his  philosophy  in  a  phrase. 

He  has  been  called  "The  Tramp  Poet."  Perhaps  he  is 
as  well  known  by  that  name  as  his  own.  Once  I  said  to 
him,  "Did  you  come  by  the  title  vicariously  or  actually? 
Of  course  I  have  heard  of  adventures  here  and  there, 
but   between   what   one   hears  and   what   is  true    .    .     ." 

"Oh,  actually,"  he  said, 
"actually  and  honestly.  I 
was  a  tramp.  It  couldn't  be 
better  earned  than  that.  A 
regular  hobo  of  the  road. 
There  was  a  time  when  I 
camped  beside  a  little  lake 
in  Jersey  with  about  five 
pennies  and  some  raw  whole 
wheat  between  me  and  what 
is  known  as  starvation."  He 
added  reminiscently,  "I 
wrote  my  best  sonnet  there." 

Which  brought  to  me,  ir- 
resistibly, some  words  of 
Richard  Le  Gallienne's, 
written  in  a  preface  to  Mr. 
Kemp's  volume  of  verse. 
The  Passing  God:  "You  will 
seek  in  vain,"  Mr.  Le  Gal- 
lienne  says,  "for  the  tramp, 
but  there  is  not  a  page  on 
which  you  will  not  find  the 
poet." 

There  is  about  Harry 
Kemp  something  more  vital 
than  I  have  ever  encount- 
ered before.  There  is  an 
exuberance ;  an  interest,  a 
joy  of  living  keen  and  in- 
genuous. He  loves  the  days 
and  the  nights ;  he  loves  sor- 
row and  joy  because  they, 
each  of  them,  are  a  part  of 
life,  and  every  part  of  life 
he  finds  infinitely  worth 
while.  He  loves  the  things 
he  does,  the  people  he  meets, 
the  past,  the  present  and 
the  future.  He  is  never 
bored.  The  word  ennui  is 
probably  the  one  word  his 
vocabulary  does  not  em- 
brace. He  has  no  under- 
standing of  people  who, 
idly  embittered,  wonder 
what  it  is  all  about.  Stale 
moments  are  not  his. 

In  his  preface  to  Chan- 
teys and  Ballads,  he  says : 
the    unimportant    has    been 


The   Daughters  of  Heth 

"/  am  weary  of  the  daughters  of  Heth." 
— Old  Testament. 

The  daughters  of  Heth  were  lovely  girls, 

Who  broke  men's  hearts  in  their  prime — 
Who  have  handed  down  their  long  descent 

From  the  patriarchs'  olden  time, 
Whose     daughters'     daughters'     daughters 
thrive 

On  the  wrecks  of  the  hopes  of  men. 
The  gayety  of  whose  timbrels,  still. 

Has  wantoned,  each  age,  since  then ! 
For  the  Toil  of  Man  must  have  its  Mate 

Nor  strive  with  its  dream,  alone, 
Tho  it  get  the  shell  that  holds  no  pearl 

Or  the  kiss  that  gives  the  groan  .    .    . 
For  the  daughters  of  Heth  are  full  of  the 
dark 

That  roars  with  a  sudden  fire  ; 
The  daughters  of  Heth  are  no  men's  mates, 

Yet  every  man's  desire ; 
They  are  rudderless  ships  with  silken  sails 

That  thwart  the  captain's  plan. 
The  daughters  of  Heth  are  as  sure  as  death 

To  break  the  soul  of  a  man. 
Their  hands  are  warm  with  tenderness ; 

They  stroke  till  they  win  their  way, 
Tho  what  it  is  that  they  would  have 

Themselves  can  never  say, 
Enough  that  they  gain  their  quick  desire 

As  the  slave  would  have  his  hour 
If  even  himself  he  must  destroy 

To  taste  the  master's  power ; 
For  their  days  are  ruled  by  the  peacock's 
pride 

And  the  vanity  of  the  ape, 
The  mantel  full  of  tinsel  stars, 

The  gaudy,  crimson  cape, 
The  jackdaw's  glitter  of  broken  shreds, 

The  mirror  of  polished  brass  .    .    . 
O,  the  strength  of  the  man  that  leans   on 
this 

It  is  brought  to  a  sorry  pass ! 

Harry  Kemp. 


lost;  the  everlasting  aspects  remain  ....  and  it  is  that 
quality  of  the  everlasting  aspects  one  senses  in  him.  A 
something  broad  and  sweeping  and  tremendous  and  deep. 
He  has,  somehow  or  other,  got  down  to  the  throbbing 
fundamentals  of  human  consciousness  and  has  been  able 
to  rciua.ii!  there.  Fie  has  known  what  he  wanted.  He  has 
never  lost  his  way. 

"I  always  knew  what  I  wanted,"  he  said,  "even  when. 
as  a  boy,  I  ran  away  from  home  so  that  I  might  be  free." 
"Home,"  with  the  Tramp  Poet  means,  literally,  his 
birthplace,  and  that  was  Youngstown,  Ohio.  The  date 
of  his  birth  being  December  15th,  1883.  His  mother  was 
an  Englishwoman,  and  it  is  to  her  that  he  attributes  much 
of  his  sensitive  response  to  song.     His  father's  forbears 

were   Pennsylvania  Dutch. 

He  was  twelve  when  he 
definitely  severed  his  con- 
nections with  the  halls  of 
learning,  and  until  he  was 
sixteen  he  worked  in  a  cel- 
luloid factory  and,  undoubt- 
edly, carved  out  the  restless 
road  of  his  heart  move  as 
he  worked.  At  sixteen  he 
ran  away  to  sea,  shipping  as 
cattle  man  on  board  a  Ger- 
man ship  bound  for  Aus- 
tralia. He  appeared  in  China 
during  the  Boxer  rebellion. 
Then  he  returned  to  this 
country  and  took  a  turn  at 
high  school.  But  the  high 
sea  and  the  high  road  had 
blended  with  his  blood.  He 
could  learn  more  where  no 
walls  hemmed  him  in,  and 
so,  with  a  volume  of  Chris- 
tina Rossetti  and  a  copy  of 
the  Bible  in  his  pocket  he 
tramped  the  Genesee  Val- 
ley. He  went  to  jail  in  Texas 
("unjustly,  as  it  happens, 
but  what  does  that  mat- 
ter?") he  informed  me,  and 
then  he  dropt  in  for  a  brief 
visit  with  Elbert  Flubbard  at 
his  Roycraft  Shop  in  East 
Aurora.  There  were  vari- 
ous other  brief  sojourns  in 
schools  and  colleges,  and  here 
and  there  he  managed  to 
acquire  a  reading  knowledge 
of  Latin  and  Greek. 

The  great  English  poets 
have  been  Mr.  Kemp's  chief 
influences  and  masters,  and 
to  visit  their  homes  and  their 
final  resting  places  inspired, 
not  long  ago,  his  stowaway 
trip  abroad.  He  had  to  go 
to  jail  again,  too,  but  he  did 
get  to  Westminster,  Strat- 
ford-on-Avon,  the  Cheshire 
Cheese  and  others.  So  what 
{Continued  on  page  67) 


Page  Forty-Five 


SuiADO' 


WLANO 


Photo  by  Francis  Brugu 


INTERPRETING  WALT  WHITMAN 

Ian  Maclaren,  as  the  good  grey  poet,  in  the 
festival  based  on  the  Whitman  poem,  "Salut 
du  Monde,"  which  was  a  unique  contribution 
to  the  theater  of  the  season  because  of  the 
unusual  and  beautiful  effects  of  the  com- 
bination of  dancing,   music  and  choral  speech 


Page  Forty-Six 


SuADQWLAND 


Photo  by   Sherril  Schcil 


BASIL  SYDNEY 

A  character  study  of  the  man  who  has  brought  another 
vivid  interpretation  to  the  role  of  the  hero-clown 
in  the  Theatre  Guild's  production  of  Andreyev's 
tragedy     of    the    circus,    "He     Who     Gets    Slapped" 


Page  Forty-Seven 


SuADQWLAND 


Photo  by   Strauss-Peyton   Studios 


Photo  by  Evans 


Thomas  Meighan, 
who  has  a  won- 
derful part  in  the 
relentless  district- 
attorney  who 
sends  the  woman 
he  loves  to  the 
penitentiary 


Leatrice  Joy,  who 
plays  the  patri- 
cian Lydia  in 
Paramount's  ver- 
sion of  Alice 
Duer  Miller's 
widely  read  novel 


This  looks  like  a 
variation  of 
"Civic  Virtue," 
but  actually  it  is 
symbolical  of  a 
theme  in  the  sto- 
ry, so  Cecil  B.  de 
Mille    assures    us 


u 


Photo  by  Donald  Biddle  Keyes 


Page  Forty-Eight 


Manslaughter" 


SuADOWLAND 


Frank  Reicher  in  the  vivid  final  scene  of  the  symbolic  "From  Morn  to  Midnight" 

American  Audiences  and  European  Plays 

What  of  O'Neill  and  Akins,  in  the  face  of  the  increasing  popularity  of 
Maugham,  Bahr,  Ervine  and  Other  Continentals? 

B;y  Louis  Raymond  Reid 


THE  New  York  theater  audience  has  hecome  con- 
tinentalized. It  accepts — and  more,  it  seeks — in  its 
plays  the  cynical  philosophy,  the  supersophistication 
that  are  part  and  parcel  of  the  European  theater.  This 
opinion  is  not  merely  held  by  actors,  managers  and  critics, 
all  of  whom  are  in  close  touch  with  all  phases  of  the  play- 
house, but  it  is  voiced  by  theatergoers  themselves  who 
profess  to  be  observant  of  amusement  tendencies.  Indeed, 
the  Continental  viewpoint  is  being  exerted  more  and  more 
by  New  York  audiences,  particularly  by  those  that  assem- 
ble at  the  premieres  of  plays. 

Such  authors  as  Molnar,  Maugham,  Schnitzler,  Bahr, 
Ervine  and  Galsworthy  are  finding  increasing  favor  here, 
while  Ibsen  and  Shaw  continue  to  hold  their  long  prestige. 
The  Continental  vogue  really  started  with  Ibsen.  A  great 
dramatist,  a  great  thinker,  an  unyielding  realist,  he  was 
placed  among  the  supermen  of  the  theater  by  the  New 
York  public  quite  as  readily  and  quickly  as  by  the  cul- 
tured Europeans.  Mrs.  Fiske  broke  a  lance  for  him  in 
the  dim  past  of  a  generation  ago.  Since  then  he  has  been 
played  at  intervals  by  such  actresses  as  Nazimova,  Mary 
Shaw  and  Madame  Kalich.  With  Ibsen  as  the  torch-bearer, 
other  dramatists  of  Europe  have  descended  upon  New 
York  with  plays  of  bitter  realism  and  scorching  truth- 
seeking  in  the  one  hand  and  clever  sophisticated  comedies 
in  the  other.  And  they  have  conquered.  They  have  left 
their  impress  upon  our  own  dramatists,  especially  upon 
'  the  work  of  Eugene  O'Neill  and  Zoe  Akins. 

Close  after  Ibsen  came  Shaw,  bringing  a  new  manner, 
a  new  technique.  A  follower  of  Ibsen,  he  said  unpleasant 
things  in  a  pleasant  way.  He  found  an  eager  and  appre- 
ciative public  which  preferred  his  style  to  that  of  the 
relentless  Norwegian.  He  fed  his  audience,  like  Ibsen, 
with  bitter  pills,  but  he  took  care  to  coat  them  with  sugar. 


In  a  large  measure  he  is  responsible  for  the  vogue  of  the 
Continental  playwright  who  has  cynicism  and  cleverness 
on  his  side.  Shaw  was  the  pioneer.  And  now  Molnar, 
Galsworthy,  Maugham  (not  the  amiable  Maugham  of  the 
Charles  Frohman  clays,  but  the  merciless  and  ironic  critic 
of  society),  Brieux,  Ervine,  Berger,  Andreyev  and  others 
are  reaping  the  benefits,  tho  none  of  these  has  the  Shavian 
facility — perhaps  it  is  desire — to  say  unpleasant  things 
pleasantly. 

During  the  current  season,  the  foreign  playwright  has 
been  especially  conspicuous  en  the  New  York  stage.  A 
large  number  of  their  works,  it  is  obvious,  would  find 
but  little  welcome  outside  of  New  York.  Here,  however, 
there  is  a  great  and  increasing  audience  for  them.  Such 
plays  as  "The  Nest,"  by  Geraldy,  and  "Madame  Pierre," 
by  Brieux,  and  the  Russian  supervaudeville,  "Chauve- 
Souris,"  require  discriminating,  cultured  audiences.  It  is 
a  fine  testimonial  to  the  development  of  New  York's 
theatrical  taste  that  all  of  these  attractions  are  prospering 
here.  The  first  audience  at  "Chauve-Souris"  was  over- 
whelmingly cosmopolitan.  And  it  is  this  cosmopolitan 
character  of  New  York's  population  that  has  made  the 
city  the  haven  for  the  best — and  occasionally  the  worst — 
of  European  drama. 

Molnar's  diabolical  whimsicality  was  not  accepted  here 
at  first.  His  "jlf  Ignorance  is  Bliss,"  one  of  the  finest 
comedies  ever  tjo  have  reached  the  New  York  stage,  was 
a  failure  when  presented.  Since  then  he  has  grown  more 
and  more  in  favor,  and  now  the  public  raises  such  a  work 
as  "Liliom"  to  the  gallery  of  pronounced  financial  suc- 
cesses. Maugham's  "Our  Betters"  drew  a  small  public,  but 
Maugham's  "The  Circle"  was  hailed  as  a  brilliant  comedy 
and  had  a  run  of  several  months. 

(Continued  on  page  78) 


Page  Forty-Nine 


StfADUWLAND 


_ 


Photo  by  W.  F.  Seely 


PAULINE  FREDERICK 

After  a  summer  presentation  of  "Lawful  Larceny,"  in 
London,  Miss  Frederick  will  return  to  the  Neiv  York 
speaking  stage  this  season  after  an  absence  of  eight 
years.  Her  new  offering  is  a  play  entitled  "By  Right 
of  Conquest."  It  is  from  the  pen  of  Michael  Morton, 
and  vjill  be  produced  by  Arthur  Woodj 


Page  Fifty 


DORIS 
HUMPHREY 

With  a  small  com- 
pany, Miss  Humph- 
rey is  presenting  a 
series  of  artistic 
Terpsichorean  di- 
vertissements in  the 
vaudeville  theaters 
of  the  Or pheum 
Circuit 


Photo  Dy  Strauss-Peyton 


Page  Fifty-One 


Photo   by   Hungeiford 


The  Bishop's  Palace  and  its  Feudal  Moat,  at  Wells,  near  Bath 


A  Threshold  of  the  Long  Ago  is  Bath 

Her  Very  Sedateness  and  Serenity  Bespeak  Generations  of  British  Taste  and  Tradition 

By  Edward  Hungerford 


OF  all  the  cities  in  Britain  there  is,  in  my  opinion, 
not  one  quite  to  be  compared  with  Bath.  There 
are  lordlier  towns — yes,  others  even  aside  from 
great  London,  itself — there  are  more  wildly  picturesque 
towns — if  you  demand  a  definite  instance,  Edinburgh — 
there  are  far  gayer  spas — Harrogate  and  Brighton — 
seemingly  a  thousand  British  towns,  brisker  in  their  com- 
mercial endeavors.  Yet  in  Bath  you  have  all  these 
qualities — all  save  that  of  the  rush  and  roar  of  business. 
Business  and  Bath  do  not  seem  to  go  together.  It  is  far 
better  so. 

For  all  else  Bath  has.  Antiquity — the  lovely  traditions 
that  these  many  years  have  woven  themselves  into  a  fine 
web  of  romance  over  the  old  city,  the  rare  charm  of  a 
truly  beautiful  location;  these  things  certainly  has  this 
most  historic  of  all  English  watering-places.  Then,  to  her 
site  amidst  the  high  hills  of  Somerset,  to  her  astonishing 
juxta-position  of  houses  and  parks  and  tantalizing  streets 
and  open  places  comes  her  final  added  charm  of  good 
architecture.  Here  was  almost  the  very  birthplace  of  the 
Georgian  style — we  Americans  do  so  delight  in  calling  it 
the  "Colonial."  In  Pulteney  Street  and  the  other  thoro- 
fares  of  the  old  town,  the  brothers  Adam  and  the  Woods 


— father  and  son — wrought  some  of  their  finest  creations  ; 
houses  that  have  left  their  definite  impress  not  alone  upon 
England  but  upon  our  own  great  republic  three  thousand 
miles  away.  One  could  easily  write  a  whole  book  upon 
the  fireplaces  of  Bath.   And  another  upon  its  ceilings. 


If  you  go  by  rail  from  London  down  the  one  hundred 
and  seven  miles  to  Bath  (in  England  one  always  goes 
"clown"  from  London,  whether  he  goes  north,  south,  east 
or  west)  you  will  have  a  rather  dreary  two  hours — yet 
two  hours  aboard  a  train  of  astounding  swiftness.  The 
first  time  that  I  went  down  there  from  Paddington  Station 
(in  the  west  of  London)  I  was  rather  astonished  when  the 
booking-agent  told  me  that  there  would  be  no  dining-car 
upon  the  train ;  even  tho  it  was  advertised  as  an  express 
and  made  its  journey  thru  the  noon-tide  period.  What  a 
stupid,  stodgy,  old-fashioned  railroad,  this  non-com- 
petitive Great  Western !  And  what  a  stupid,  stodgy  sta- 
tion-agent to  tell  me  that  whopper  about  the  dining-car! 
For  here,  under  the  smoky  roof  of  old  Paddington  was  a 
restaurant-car  upon  my  train — all  bright  and  red  and  gold 
with  its  spick-and-span  steward,  all  blue  and  gold,  and 


Page  Fifty-Two 


SuADOWLAND 


smiling  to  take  my  orders  .  .  .  But  not  if  I 
was  going  to  Bath.  He  would  receive  me  in 
his  itinerant  restaurant  if  I  were  going  to 
Bristol  .  .  .  But  not  to  Bath  .  .  .  Why  not  ? 
I  gave  vent  to  a  reportorial  curiosity  : 

"You're  in  a  slip-carriage,  sir,"  said  he.  Of 
which  at  the  moment  I  knew  nothing  what- 
soever .   .  . 

Two  hours  later  we  had  crawled  thru  the 
tremendously  long  bore  of  Box  tunnel  and, 
emerging,  were  scurrying  down  a  railway 
grade  into  the  old  spa  of.  Bath  itself  .  .  . 
The  entire  quality  of  the  country  had  been 
transformed — instantly.  Gone  was  the  dreari- 
ness of  the  high  and  sandy  plateau  which  we 
had  been  traversing  ever  since  we  had  left 
the  Thames  side,  nearly  an  hour  ago.  In  its 
place  was  come  the  vista  of  a  deep  valley — a 
valley  in  whose  heart  ran  the  silver  Avon  on 
its  way  to  the  sea.  From  the  sheen  of  the 
river  the  uplands  rose,  open  fields  and  many 
a  close  copse,  all  fresh  and  verdant  as  only  an 
English  countryside  in  the  spring  may  ever 
be.  (A  little  later  the  Bath-folk  were  to  tell 
me,  that  by  some  strangely  paradoxical  local 
traditions,  these  same  uplands  were  called  the 
downs.  These  English  have  such  fanciful 
ways  in  their  nomenclature).  .  .  .  But  never 
mind  that.  You  are  now  looking  with  me  for 
the  first  time  down  into  the  lovely  Warleigh 
valley ;  rising  on  either  side  from  the  Somer- 
set River  Avon  ...  A  valley  for  romance. 
Such  a  valley  to  which  Robin  Hood  might 
have  blown  his  horn  or  Pan  his  pipes.  You 
could  have  staged  "Midsummer  Night's 
Dream"  upon  its  breasts — and  suffered  no  in- 


{At  the  right)    An  ancient   canal  threads  the  town 

of  Bath  and  bores  thru  innumerable  "tunnelettes." 

(Below)    The   quiet  streets   bespeak   its   generations 

of   culture    and   taste 


Photos  by   Hungerford 

congruities.  An  amphithe- 
ater for  chivalry.  And  in- 
deed upon  the  morrow 
when  I  was  to  venture 
forth  to  see  the  ruins  of  an 
ancient  castle,  which  for 
me  forever  holds  a  peculiar 
and  a  poignant  interest,  I 
was  to  see  in  each  nook  and 
cranny  of  the  battered  walls 
which  time  and  battle  had 
permitted  to  remain,  how 
hard  had  once  fought  the 
doughty  Cromwellians  and 
their  equally  doughty  an- 
tagonists— in  this  very  val- 
ley, which  now  sleeps  so 
peacefully. 

*         *         * 

Bath  is  seated  upon  the 
steepest  slopes  of  the  nar- 
rowest part  of  this  valley  of 
the  Avon — it  is  so  narrow 
that  it  comes  near  to  being 
an  absolute  impasse.  When 
first  the  town  confronts 
you  from  your  car  window, 
you  will  be  sure  to  note  the 
great  regularity  of  its  ter- 
raced   rows    of    grey-stone 


Page  Fifty-Three 


SuiADOWLAND 


Photo   by  Hungerford 

An  English  countryside  is  the  most  wonderfully  verdant  thing  imaginable 


houses  : —  in 
the  distance 
they  look  like 
the  handi- 
work of  some 
small  boy,  ex- 
quisitely neat 
with  all  his 
toys  .  .  .  Grey 
houses  and 
the  deep,  dark 
greens  of 
English  foli- 
age .  .  .  Grey 
houses  and 
amidst  them, 
church-spires 
.  .  .  Church- 
spires,  yet  not 
one  amongst 
them  half 
so  impressive 
as  the  solid 
square  Gothic 
tower  of  Bath 
Abbey;  of 
which  more 
in  good 
time  .  .  . 

A  terraced 
town  upon 
the  opposite 
side,    up    to 

the  very  top  of  the  down,  more  than  seven  hundred  feet 
above  the  river.  Our  side  is  lost.  We  catch  a  vista  here, 
a  vista  there  of  an  ancient  and  lovable  canal,  then  the 
light  itself  comes  in  blotches  and  in  intervals.  Our  railway 
car  is  threading  a  series  of  small  tunnels  under  one  of  the 
town-parks  ("tunnelettes,"  a  track  repairer  called  them 
to  me  two  or  three  days  later,  in  all  seriousness).  We 
cross  the  Avon  and  pull  into  the  unpretentious  railway- 
station  of  Bath.  .  .  There  ensues  the  hectic  business  of 
gathering  the  hand-baggage  together  ...  A  station-por- 
ter thrusts  his  head  into  the  open  window  of  the  carri- 
age ..  . 

"No  hurrv,  sir,"  says  he.  "This  carnage  goes  no  far- 
ther." 

.  .  .  When  we  emerge  upon  the  station-platform  we 
find  that  the  car  (the  English  always  call  it  a  "carriage") 
stands  all  alone  upon  the  track.  We  make  a  friendly  en- 
quiry as  to  the  whereabouts  of  our  nice,  swift  train. 

"It's  halfway  to  Bristol  by  this  time,  sir,"  says  the 
porter. 

Now  we  know  the  meaning  of  a  slip-carriage  upon  a 
British  railway.  We  also  know  why  we  could  not  lunch 
in  the  restaurant-car.  There  are  no  passageways  between 
the  slip-carriages  and  the  rest  of  the  train. 

But  why  worry  about  lunch?  Twenty  minutes  later 
we  are  seated  in  the  dining-room  of  one  of  the  most 
charming  hotels  that  one  might  hope  to  find  in  the  entire 
length  and  breadth  of  Great  Britain  .  .  .  We  had  started 
forth  for  Bath,  nursing  a  secret  hope  that  we  might  be 
domiciled  there  in  the  White  Hart — our  memories  of  the 
Pickwick  Papers  are  pretty  active,  even  after  all  these 
years  .  .  .  But  alas,  there  no  longer  is  a  White  Hart.  In 
its  honored  place  there  arose,  more  than  half  a  century 
ago,  the  Grand  Pump  Room  Hotel.  There  are  other  hotels 
in  Bath,  and  good  ones,  too.  But,  for  ourselves,  we  could 
never,  never  pass  the  door  of  a  hostelry  that  boasted  so 
mellifluous  a  name  as  the  Grand  Pump  Room.  It  might  have 
been  the  worst  hotel  in  the  town  and  we  still  should  have 


gone  there. 
But  it  is  not 
the  worst.  I 
honestly 
think,  altho 
never  having 
tried  another, 
that  it  is  the 
best.  It  cer- 
tainly is  as 
good  a  tavern 
as  any  way- 
farer might 
seek  as  a 
haven  and  a 
roof  over  his 
head.  More 
than  this  he 
has  no  busi- 
ness to  ask 

Across 
from  its  door 
is  the  Pump 
Room — a  two 
storied  stone 
structure,  of 
a  rather 
simple  classic 
type,  which 
altho  built 
more  than  a 
century  ago 
has  in  recent 
years  been  improved  by  the  Corporation  of  Bath — at  a 
cost  of  some  two  hundred  thousand  dollars.  It  con- 
tains in  its  basement  and  lower  floor  not  only  the  ruins  of 
the  superb  bath-house  which  the  Romans  built  more 
than  two  thousand  years  ago,  but  an  elaborate  and  modern 
bathing  equipment  of  a  most  varied  sort.  The  warm, 
healing  waters  of  Bath  are  in  no  way  disagreeable ; 
neither  to  the  smell  ncr  to  the  taste.  The  dictum  of  the 
local  physician  who  looks  at  your  little  finger  and  says 
that  you  have  the  gout  (if  he  had  had  a  chance  to  look  at 
your  big  toe,  he  might  have  pronounced  it  something 
quite  different)  and  that  in  addition  to  bathing  in  the 
waters  twice  a  day  you  shall  drink  forty-eight  quarts 
of  them  a  week,  therefore  brings  no  great  hardness  nor 
physical  discomfort  in  its  train.  On  the  contrary  it  gives 
you  something  quite  definite  to  do.  Which,  upon  an  ex- 
tended vacation,  is  almost  always  quite  a  blessing. 

I  desist.  This  is  no  guide-book.  We  are  talking  of  the 
external  charms  of  Bath,  and  not  the  internal  ones.  And 
so  we  shall  pass  the  bathing  establishment  by  taking  one 
final  look,  however,  at  the  Pump  Room  itself — the  holy 
of  holies  of  the  place.  It  is  a  well  proportioned  apart- 
ment, high-ceilinged  and  some  sixty  by  one  hundred  feet 
in  its  dimensions.  There  is  a  bar  along  a  broad  alcove  at 
one  side  where  you  may  go  to  work  at  your  forty-eight 
quarts  in  every  possible  interval.  But  the  lion  of  this 
ample  and  altogether  charming  room  is  a  huge  statue  of 
Beau  Nash. 

Beau  Nash!  Shades  of  Monsieur  Bccucaire!  What  a 
man  this  was — this  dandy  of  nearly  two  centuries  ago,  fop, 
arbiter  of  social  destinies,  feared,  hated  and — once  or 
twice — loved.  This  Ward  McAllister  of  eld  Bath  was  no 
fool.  Trained  at  Oxford,  in  the  Army  and  in  the  shadowy 
Inner  Temple  of  legal  London,  he  possessed  rare  qualities 
of  real  executiveness.  Without  them  he  never  could  have 
risen  to  his  years  of  social  domination  in  one  of  the  most 
socially  brilliant  communities  that  the  world  has  ever 
known.  Without  them — and  a  quick  and  ready  wit.  It  is 
related  of  him  that  once  at  one  of  the  formal  Assemblies 
(Continued  on  page  72) 


Page  Fifty-Four 


Vanni  Marcoux 

of  the 
Opera  Comique 


Very  young, 
very  brilliant, 
and  very  popu- 
lar with  his  Pa- 
risian public,  is 
this  artist  with 
the  lovely  bary- 
tone voice 


While  the  photographs 
depict  him  as  Lorenzoc- 
cio,  M.  Marcoux  is  no 
less  popular  in  the  bary- 
tone parts  of  "Carmen," 
"Manon,"  "Otello," 
"Tosca"'  and  other  roles 
of  a  long  repertoire 


Page  Fifty-Five 


Si-IADOWLAND 


MARY  LEWIS 


1 


-     • 


^ 
£   r 


xMURIEL  STRYKER 


Page  Fifty-Six 


SuAOOWLAND 


Shadowland 

Goes  to 
"The  Follies" 

Sketches  by  Wesley  Morse 


&? 


.&#% 


I  Ah. 


7  «* 


^X&K^s 


WSt  "^  If  * 


>  p 


*       MARY  EATON 


MARTHA   LORBER 


-A 


Pa<7<?  Fifty-Seven 


IN  YORK  COUNTY 

By  William  Elbert  Macnaughtan 
First  Prize 


Page  Fifty-Eight 


Camera  Contest 
Winners 


On  this  and  the  opposite  page  are  the  suc- 
cessful competitors  of  this  month's  contest. 
On  the  following  page,  the  second  prize 
winning  picture.  Full  details  of  the  con- 
test will  be  found  on  page  seventy- eight. 


(Above) 

THE  COOLIE 

By  Arthur  D.  Chapman 

Third  Prize 


THE  TENDER  BUDS  OF  SPRING 

By  Josephine  M.  Wallace 

Honorable    Mention 


(Above) 
THE  BOAT  HOUSE 

By  F.  Detlefsen 
Honorable  Mention 


(Left) 

STILL  LIFE 

By  William  Jordan,  Jr. 

Honorable  Mention 


Page  Fifty-Nine 


MONK 

Amalfi,  Italy 

By  Myers  R.  Jones 

Second  Prize 


Page  Sixty 


Mildred  Harris  and  Kamarela  Searles  in  "A  Fool's  Paradise" 


Life  Gives  Us  These 


By  Charles  Divine 


Life  gives  the  shepherd  a  star  to  watch 
The  long,  dim  night  on  the  lonely  hill ; 
The  dreamer,  a  house  with  a  little  gate 
And  an  easy  chair  on  the  silent  sill. 

Life  gives  the  lover  the  crescent  moon 
To  hang  on  his  eyelids  and  finger-tips ; 

And  poets,  the  songs  that  stir  in  their  hearts 
Forever  to  madden  their  restless  lips. 

Life  gives  the  rover  a  sea  and  a  sail ; 

The  peasant,  a  meadow  and  furrows  of  sod. 
And  gardens  where  often  the  hawthorn  blooms, 
And  churches  wherein  he  may  worship  God ; 

The  streets  of  a  village,  a  blacksmith's  shop 
That   echoes   the   anvil   the   livelong   day, 
And    merry-go-rounds    and    country    fairs, 
And  lilac  bushes  and  kisses  in  May ; 

The  curved  roads  of  summer,  tree-fringed  and  cool, 
And  walls  with  wistaria,  mystery,  song, 

A  cottage  whose  windows  are  golden  at   eve. 
And   corners  where   candles   are   guttering   long  ; 

A  red-striped  table-cloth,  odors  of  roasts, 
A   kitchen   with    copper   kettles   a-gleam, 

And  bright,  clean  pans  in  a  rack  on  the  wall, 
And  white  wine  under  an  oaken  beam. 

Life  gives  us  these,  nor  haggles   for  price, 
Except  that  we  see  and,  seeking,  we  find, 

And  whether  life  comes  to  us  once  or  twice — 
That,  too,  is  a  question  to  twitter  the  mind. 


An  open  fire  in  a  darkened  room, 

The  night  outside  on  the  window-ledge. 

The  crackling  logs  and  cravens  of  light, 

And  the  sound  of  the  wind  in  the  tumbling  hedge ; 

The   lazy   patter  of   rain   on   the   roof, 

Singing  a  lullaby  over  your  bed, 
A  night  of  soft  airs  and  murmuring  leaves, 

And  a  pillow  of  dreams  for  a  weary  head. 

There  are  books  to  read  when  the  world  is  dull. 
There  are  roads  to  walk  when  the  books  are  dry, 

There  are  sunsets  to  follow  when  roads  are  long, 
And  dawns  that  even  a  fool  can  buy. 

A  salt  wind  blowing,  and  far-away  lands, 
Francs  and  shillings  and  nickles  and  dimes, 

Carnivals,   gondolas,   whispering  nights, 
Japanese  lanterns  and  rivers  and  rhymes. 

An   open  cab  with   a  loitering  horse, 

The  harness  a-tingle  with  cow-bells  light, 

And  city  streets  where  the  faces  pass, 
And  towers  that  loom  on  a  moonlit  night. 

A  woman's  love  and  a  mother's  pride, 

A  coming-back-home  from  the  wandering  tours, 

The  sight  of  a  doorway  known  to  the  heart, 
The  grip  of  an  old  friend's  hand  in  yours. 

Oh,  write  it  down  in  a  thousand  books, 

And  carve  it  deep  where  the  winds  will   sigh, 
And  weave  it  into  the  singing  brooks : 
Life  gives  us  these,  before  we  die. 


Page  Sixty-One 


We 

Artistic 


A.  S.  M.  HUTCHINSON 

There  are  rumors  that  the  au- 
thor of  "If  Winter  Comes"  will 
visit  America  this  fall,  when  his 
new  novel,  "This  Freedom,"  is 
published.  Cyril  Maude  will 
have  the  role  of  Mark  Sabre, 
when  the  dramatic  version  of  the 
earlier  romance  is  presented  to 
New  York  next  winter,  while 
the  film  rights  have  been 
acquired  by  the  Fox  corporation 


Photo  ©  E.  O.  Hoppe,  London 


A.  A.  MILNE 

Who  has  followed  his  successful  com- 
edies, "Mr.  Pirn  Passes  By,"  "The 
Dover  Road"  and  "The  Truth  About 
Blayds,"  with  an  equally  popular 
book,  "The  Red  House'  Mystery." 
Writing  of  the  latter,  he  says:  "I  have 
always  adored  detective  stories'.  ■  One 
day  about  three  years  ago,  I  thought 
of  rather  a  good  way  of  murdering 
somebody,  so  I  began  to  write  the 
first  chapter  and  left  the  rest  of  the 
story  to  take  care  of  itself" 


Page  Sixty-Two 


oto  ©  E.  O.  Hoppe,  London 


Focus 
Personalities 


F.  FABIANO 

We  learn  with  pleasure  of  the 
recent  arrival  in  America  of  the 
clever  foreign  artist  whose  work 
is  endowed  with  the  inimitable 
grace  of  French  art.  His  femi- 
nine types  have  long  charmed 
the  readers  of  the  gay  Parisian 
publications,  "La  Vie  Parisi- 
enne,"  "Le  Hire,"  and  "Fantasio" 


HENDRIK  WILLEM  VAN  LOON 

Recently  awarded  the  first  John  Newbery 
medal  by  the  American  Library  Associa- 
tion for  the  most  distinguished  contribu- 
tion to  American  literature  for  children, 
"The  Story  of  Mankind."  Few  people 
will  quarrel  with  the  award  to  a  history 
that  has  taken  rank  with  the  best  of  best- 
selling  novels  and  has  fascinated  grown- 
ups even  more  than  the  younger  genera- 
tion for  whom  it  was  intended 


Photo  ©  Underwood   &  Underwood 


Page  Sixty-Three 


SuiADOWLANO 


Double  faulting  becomes  excessively  monotonous 
as  the  minutes  wear  by,  but  Lucile  persists.  "My 
dear  little  dynamo"  perspires  Henry,  in  the  ver- 
nacular of  his  profession,  and  so  sustains  her  to 
the  end.  "My  dear  little  pet  dynamo,"  it  will  be 
yet  more  intimately  over  the  teacups.  Oh,  what 
more  lovely  in  her  mind  than  to  be  condoned  for 
the  very  faults  she  is  inclined  in  more  lucid 
moments    of   play   with    her    own    sex    to    despise 


Hardly  to  oulstroke  the  Indefatigable  Male 
would  an  all  night  flapper  rise  at  6  A.  M. 
We  expect  a  reaction  to  Lucile's  essential 
feminism  which  nowadays  she  affects  to 
disdain.  "I  wonder,"  so  she  communes, 
swinging  a  wicked  iron,  "whether  Henry 
would  still  adore  me  as  a  devotee  of  his 
favorite  game  if  he  kneiv  that  the  only  real 
argument  I  have  for  golf  is  its  positively 
radical    effect    on    the    complexion" 


Lucile 

Goes  in  For 

Sports 


Thereupon   we   reveal   Ulterior 
Motives  for  her  Athletic  Foibles 


Sketches  by  Olive  Butler 


Page  Sixty-Four 


&iADOWLT/\ND 


The  delicate  hobbies  of  her  forbears 
would  scarcely  have  embraced  creatures 
of  low  biological  import  such  as  Donald 
impales  upon  her  hook.  Free  from  the 
grosser  brutalities  of  the  sport,  Lucile 
should  blossom  into  sustained  and  rosier 
vigor.  "But,"  she  exasperates,  "if  only- 
Henry  had  not  bragged  that  I  was  the 
best  little  angler  this  side  of  the  Alle- 
ghanies,  I  might  drop  this  farce  and  save 
his    pet    rod    from    absolute    ruination" 


/jft? 


W\ 


■p 


The  piteous  withdrawal  of  Lucile  to  the  onslaughts 
of  ants-variegated,  and  spiders-hairy,  as  she  has 
them  cataloged  in  her  own  peculiar  lexicon,  are 
lost  on  a  brute  like  Henry,  to  whom  the  sizzling 
of  bacon  over  a  fire  is  panacea  for  any  discomfort 
endured  in  the  open.  -  '"I  should  say,"  palpitates 
Lucile,  "that  Henry  has  rather  a  flair  for  domestic- 
ity," and  folds^  the  revelation  compactly  away 
for  later  u:e 


As  a  method  of  bathing, 
porcelain  plumbing  is  as- 
suredly less  hazardous 
than  a  leap  into  the 
bosom  of  the  sea,  when 
thoughts  of  heaped  jelly- 
fish and  oyster  shells 
supine,  swamp  her  timid 
brain  „  afresh  at  every 
dive.  "I  would  almost 
rather  be  laughed  at  for 
doing  a  perfectly  safe 
and  sane  Daily  Dozen  in 
my  room,"  mutinies  Lu- 
cile, "than  to  be  adored 
as  a  picture  of  uncon- 
scious grace — but,"  she 
adds,  "not  quite" 


Page  Sixty-Five 


Photos  ©  Underwood  &  Underwood 


Based  on  an  old  Irish  legend  told  to1 
them  by  Padraic  Colum,  the  pupils  of, 
the  Children's  School,  of  New  York, 
recently  not  only  wrote  but  produced 
"The  Tooth  of  Knowledge,"  without 
the    aid    of    a    single    grown-up 


Expressionism 

in  the 

Children's 

Theater 


To  design  costumes,  furniture,  drop 
curtains,  and  arrange  the  program 
were  only  a  few  of  the  details  of  the 
work  assumed  by  the  aspiring  Thes- 
pians, whose  ages  ranged  from  ten  to 
twelve  years 


Page  Sixty-Six 


SUAOQWLANO 


Of  Which  Song  is  Made 

(Continued  from  page  45) 

did  that  matter?  But  it  would  seem  that  he 
has  walked  exhaustively  thruout  the  uttermost 
realms  of  all  poetry.  Nothing  has  escaped  him. 
Poetry,  the  love  of  poetry,  the  living  of  it  and 
the  writing  of  it,  has  been  the  passion  of  his 
life.  He  knew  it  almost  as  soon  as  he  cov.ld  con- 
sciously know  anything  and  the  loyalty  to  it  and 
the  desire  for  it  has  never  departed  from  him. 

"If  I  seem  to  have  achieved  freedom  and 
content,"  he  said  to  me,  "and  I  have,  it  is  be- 
cause I  was  fortunate  enough  to  know  myself 
from  the  very  beginning.  I  have  never  had 
any  doubts." 

Apart  from  his  philosophy  of  life,  which 
is  sharp  with  the  tang  of  interest  and  enthusi- 
asm, there  is  his  poetry  with  which  I  hesitate 
to  deal  too  explicitly.  The  faces  of  women 
are  in  it,  and  the  rapturous  love  of  women. 
God  is  in  it  and  the  solemnity  of  the_  old  re- 
ligion— the  old  Scriptures.  Spiritism  is  in  it, 
and  the  belief  which  has,  of  late  years,  been 
touching  the  world  with  hope.  Red  blood  is 
in  it,  and  the  sea  and  the  camaraderie  of  the 
open  road.  Resurgent  hope  is  always  in  it. 
There  is  nothing  mordant,  nothing  involved, 
nothing  artificial  nor  pretentious.  One  reads 
and,  perfectly,  with  a  quickened  heart-beat  and 
a  quickened  spirit,  one  understands  what  he 
means  and,  beautifully,   why  he  means   it. 

He  says,  also,  in  his  preface  to  "Chanteys 
and  Ballads,-"  and  referring  to  h;s  reading  of 
the  Bible  while  he  was  in  the  Texan  jail: 

"And  Christ  walking  about  Judea,  along  the 
roads  and  from  inn  to  inn,  somehow,  got  into 
my  soul  ..." 

These  are  beautiful  words.  They  are  the 
more  beautiful  because  they  have  been  said 
with  meaning.  The  deep  and  true  meaning 
that  comes  from  the  heart  of  a  man  who  has 
met  death  and  tragedy,  head  high.  Who  has 
sought  out  high  romance,  high  adventure.  Who 
has  faced  hunger,  jail,  exile  and  warfare,  and 
still  and  always,  high  above  his  head,  main- 
tained, triumphant,  the  shining  sword  of  song. 

His  own  "Farewell"  makes  further  mock  of 
further  words : 

"Tell   them,    O    Sky-born,   when    I   die, 
With  high   romance   to   wife, 
That  I  went  out,  as   I  had  lived, 
Drunk   with   the   joy   of   life. 

Yea,   say   that   I   went   down  to   death 
Serene  and  unafraid, 
Still   loving   Song,   but   loving   more 
Life,  of  which  Song  is  made." 

iiiiiiiiimiMiiiiiimiimmimiiii 

MOON  WORSHIP 
By  Elliott  W.  Hough 

0  moon — 

Because  you  create  not 

But  reflect, 

Because  you  are  passionate 

But   still   recessive, 

Because  you  are  a  thing  of  beauty 

Loved  by  lovers, 

Because  you  ask  only  admiration 

Which  can  be  freely  given, 

Because  you  sing  of  love 

And  unfilled  desire — 

You,  emotional  Queen. 

1  deify. 

Help  me,  voluptuous  One, 

To  avoid  truth 

And  reality. 

Deliver  me  from  rationality, 

In  whose  foul  clutches 

I  writhe. 

With  illusion  and  mysticism 

Fill  my  heart, 

That  1  may  live. 


Teeth  You  Envy 

Are  brushed  in  this  new  way 


Millions  of  people  daily  now  combat  the 
film  on  teeth.  This  method  is  fast  spread- 
ing all  the  world  over,  largely  by  dental 
advice. 

You  see  the  results  in  every  circle.  Teeth 
once  dingy  now  glisten  as  they  should. 
Teeth  once  concealed  now  show  in  smiles. 

This  is  to  offer  a  ten-day  test  to  prove 
the  benefits  to  you. 

That  cloudy  film 

A  dingy  film  accumulates  on  teeth.  When 
fresh  it  is  viscous — you  can  feel  it.  Film 
clings  to  teeth,  gets  between  the  teeth  and 
stays.     It  forms  the  basis  of  cloudy  coats. 

Film  is  what  discolors — not  the  teeth. 
Tartar  is  based  on  film.  Film  holds  food 
substance  which  ferments  and  forms  acid. 
It  holds  the  acid  in  contact  with  the  teeth 
to  cause  decay. 

Millions  of  germs  breed  in  it.  They, 
with  tartar,  are  the  chief  cause  of  pyor- 
rhea. Thus  most  tooth  troubles  are  now 
traced  to  film,  and  very  few  escape  them. 

Must  be  combated 

Film  has  formed  a  great  tooth  problem. 
No  ordinary  tooth  paste  can  effectively 
combat  it.  So  dental  science  has  for  years 
sought  ways  to  fight  this  film. 


Two  ways  have  now  been  found.  Able 
authorities  have  proved  them  by  many 
careful  tests.  A  new  tooth  paste  has  been 
perfected,  to  comply  with  modern  require- 
ments. And  these  two  film  combatants 
are  embodied  in  it. 

This  tooth  paste  is  Pepsodent,  now  em- 
ployed by  forty  races,  largely  by  dental 
advice. 

Other  tooth   enemies 

Starch  is  another  tooth  enemy.  It  gums 
the  teeth,  gets  between  the  teeth,  and  often 
ferments  and  forms  acid. 

Nature  puts  a  starch  digestant  in  the 
saliva  to  digest  those  starch  deposits,  but 
with  modern  diet  it  is  often  too  weak. 

Pepsodent  multiplies  that  starch  digestant 
with  every  application.  It  also  multiplies 
the  alkalinity  of  the  saliva.  That  is  Na- 
ture's neutralizer  for  acids  which  cause 
decay. 

Thus  Pepsodent  brings  effects  which 
modern  authorities  desire.  They  are  bring- 
ing to  millions  a  new  dental  era.  Now  we 
ask  you  to  watch  those  effects  for  a  few 
days  and  learn  what  they  mean  to  you. 

The  facts  are  most  important  to  you.  Cut 
out  the  coupon  now. 


REG. U.S.     knm 


The  New-Day  Dentifrice 

Endorsed  by  modern  authorities 
and  now  advised  by  leading  dentists 
nearly  all  the  world  over.  All 
druggists  supply  the  large  tubes. 


10-Day  Tube  Free 

THE   PEPSODENT   COMPANY, 

Dept.  177,  1104  S.  Wabash  Ave., 

Chicago,  111. 

Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family 


Page  Sixty-Seven 


Si44DQWLAND 

Stage  Plays  of  Interest 

(Readers  in  distant  towns  ivill  do  well  to  preserve  this  list  for  reference  ivlien  these  spoken 

plays   appear   in   their   vicinity.) 


Belasco. — Lenore  Ulric  in  "Kiki."  David 
Belasco's  production  of  his  own  piquant  adapta- 
tion of  Andre  Picard's  French  farce.  Miss 
Ulric  scores  one  of  the  big  hits  of  the  season 
with  her  brilliant  playing  of  a  little  gamin  of 
the  Paris  music  halls.  You  will  love  Kiki  as 
you  loved  Peg — but  differently.  A  typically 
excellent   Belasco   cast. 

Belmont  Theater. — "Kempy."  While  em- 
bracing many  characteristics  that  recall  "The 
First  Year,"  of  blessed 
memory,  this  very  hu- 
man domestic  comedy  is 
no  less  welcome  because 
of  that.  Demonstrating 
as  well  the  versatility  of 
the  Nugent  family.  Fa- 
ther and  son  collaborated 
in  the  playwriting,  and 
fill  two  of  the  chief 
roles  on  the  stage,  with 
mother  and  daughter 
supplementing  with  two 
others.  Truly  a  family 
affair,  but  a  delightful 
one,  with  an  abundance 
of  refreshing  fun  and 
an  absence  of  domestic 
scandal. 

Bijou  Theater. — "The 
Dover  Road."  A  simple 
little  romance  of  a  crusty 
bachelor  in  the  guise  of 
a   deus   ex   machina.    He 

delights  to  set  right  the  affairs  of  hasty  couples 
who  are  traveling  the  English  equivalent  of 
the  road  to  Reno.  He  literally  intercepts  them 
en  route,  and  of  course  becomes  caught  in  his 
own  net.  Charles  Cherry  and  an  unusually 
able  English  company  give  a  most  finished  per- 
formance.    A.  A.   Milne  is  the  author. 

Century  Roof. — The  "Chauve-Souris"  of 
Nikita  Balieff  and  his  Russian  entertainers  from 
Moscow.  Second  bill.  Superb  aesthetic  vaude- 
ville done  with  a  touch  of  genius.  Be  sure 
to  see  this.  Morris  Gest  deserves  a  laurel 
wreath  for  bringing  Balieff  and  his  fellow-en- 
tertainers across  the  ocean.  You  will  fall  in 
love  with  the  superbly  perfect  "Parade  of  the 
Wooden  Soldiers,"  the  stirring  music-box 
polka,  "Katinka,"  and  the  haunting  melodies  of 
the  gypsies  in  "A  Night  at  Yard's." 

Cort. — "Captain  Applejack,"  amusing  melo- 
drama delightfully  done. 


SHADOWLAND'S 

List  of  Plays  and  Revues 

You  Should  See 

"The  Music  Box  Revue" 

"Kiki" 

"The  Chauve-Souris" 

"Partners  Again" 

"The  Follies" 


Garrick. — "He  Who  Gets  Slapped."  The 
Theatre  Guild's  interesting  production  of  the 
Andreyev  tragedy  of  a  circus  clown,  told  with 
all  the  haunting  overtones  of  the  Russians. 

Globe  Theater. — "Good  Morning  Dearie." 
A  musical  comedy  put  together  with  Mr.  Dil- 
lingham's inimitable  touch.  In  other  words,  a 
sure-fire  hit.  Featuring  Harland  Dixon  and 
Adele  Lewis,  and  some  very  catchy  music. 
Harris. — "Six  Cylinder  Love,"  with  Ernest 
Truex.  The  season's  big- 
gest sell-out  and  a  real 
hit.  Presenting  the 
problems  of  a  couple 
trying  to  live  up  to  their 
car.    Plenty  of  laughs. 

Morosco. — "The  Bat," 
hair-raising  melodrama, 
which  had  its  premiere 
August  23,  1920.  Still 
drawing    crowds. 

Music  Box. — Irving 
Berlin's  "Music  Box  Re- 
vue." The  biggest  mu- 
sical hit  of  the  year  and 
a  fast-moving  entertain- 
ment, studded  with  clever 
comic  hits.  The  fine 
cast  includes  Sam  Ber- 
nard, Willie  Collier, 
Florence  Moore,  Wilda 
Bennett,  Mr.  Berlin  him- 
self, Mile.  Marguerite, 
Emma  Haig  and  Rose 
Rolanda.  The  staging  is  a  credit  to  Hassard 
Short. 

National. — "The  Cat  and  the  Canary."  A 
tense  and  creepy  melodrama  that  is  a  logical 
successor  to  "The  Bat"  as  New  York's  favorite 
thriller.  You'll  hold  the  arms  of  your  orches- 
tra chair  all  thru  this. 

Neiv  Amsterdam.' — "Ziegfeld  Follies  of 
1922."  "Glorifying  the  American  Girl."  More 
gorgeous,  more  elaborate,  more  expensive, 
more  distracting,  and  a  little  funnier  than 
usual. 

Palace. — Keith  vaudeville.  The  home  of 
America's  best  variety  bills  and  the  foremost 
music  hall  in  the  world.  Always  an  attractive 
vaudeville  bill. 


Sehvyn. — "Partners      Again." 
Perlmutter,    funnier   than   ever. 


Potash     and 


Loezv's  N.  Y.  and  Loew's  American  Roof. — 
Photoplays;   first  runs.     Daily  program. 

Loezv's  Metropolitan,  Brooklyn.  —  Feature 
photoplays  and  vaudeville. 

Capitol. — Photoplay  features  plus  a  de  luxe 
program.     Superb  theater. 


Rivoli. — De  luxe  photoplays  with  full  sym- 
phony orchestra.     Weekly  program. 

Rialto. — P  hotoplays  supreme.  Program 
changes  every  week. 

Strand. — Select  first-run  photoplays.  Pro- 
gram changes  every  week. 


r(i  if  f\  v-  AT^'^^ 


Kcjr 


The  Exacting  Art  of 
Caricature 

(Continued  from  page  38) 

ideas  are  not  so  penetrating.  Of  all  the  newer 
Germans,  however,  Arnold  shows  the  greatest 
power,  the  most  telling  analysis,  and  the  most 
finished  technique.  Few  modern  caricaturists 
have  probed  so  deeply  into  character,  or  stated 
their  findings  with  such  poignant  and  ruthless 
accuracy. 

Associated  with  the  German  school  of  real- 
istic pictorial  portraiture  is  the  Scandinavian 
Gulbranssen,  who  for  sheer  technical  finish, 
solidity  of  effect,  and  mordant  characterization, 
has  no  superiors  and  few,  if  any,  peers.  His 
satirical  portraits  are  perfect  examples  of  true 
caricature — simple,  yet  masterly  in  statement, 
and  conceived  with  a  brilliant  clarity  of  vision. 
He  surpasses  all  his  countrymen,  from  Tegner 
and  Jiirgensen  to  Schmidt  and  Kittelesen ;  and, 
indeed,  marks  the  height  to  which  modern 
caricature    has    attained. 

The  French  and  English  Schools 

None  of  the  more  recent  Frenchmen  have 
approached  the  genius  of  Forain  and  Lautrec. 
Sem,  however,  has  done  many  fine  and  search- 
ing caricatures ;  and  among  the  younger  men 
"Mich"  also  may  be  mentioned  as  characteristic 
of  the  spirit  of  pictorial  irony  in  France  today. 

In  England  caricature  has  not  entirely  freed 
itself  from  literature  and  document.  Beer- 
bohm  ("Max")  is  an  excellent  example  of  this 
retarded  development.  The  most  popular  and, 
in  many  respects,  the  best  of  England's  cari- 
caturists, he  constantly  depends  on  ideas  for 
his  effects.  He  is  superficial  in  analysis;  and 
his  technique,  compared  with  that  of  Thony, 
Arnold  and  Gulbranssen,  is  almost  amateurish. 
But  his  whimsical  wit  and  his  droll  imagination 
often  save  an  inherently  banal  and  poorly  ex- 
ecuted picture  from  complete  disinterest. 
Simpson  is  without  "Max's"  whimsicality  and 
literary  appeal ;  and  while  his  technique — com- 
posed of  simple  free  lines  in  the  Busch  tradi- 
tion— is  adequate  to  its  purpose,  his  exaggera- 
tion and  distortion  of  featural  characteristics 
are  not  of  a  sufficiently  penetrating  nature  to 
lift  him  very  far  above  the  level  of  "clever 
cartoonist."  "Spy"  (Leslie  Ward),  another 
English  caricaturist,  suffers  from  this  same 
deficiency  in  critical  observation.  He  is,  in 
fact,  merely  a  more  genial  and  tolerant  "Ape." 

Spain,.  Italy  and  the  other  Latin  countries 
supply  a  more  sympathetic  milieu  than  Eng- 
land and  America  for  the  development  of  cari- 
cature. The  imagination  is  less  restricted ; 
sentimental  ethics  are  less  dominant ;  and  origi- 
nality has  a  freer  rein.  We  find,  therefore, 
many  interesting  graphic  talents  in  these  na- 
tions. 

Caricature  in  the  Latin  Countries 

Tovar  represents  the  best  in  Spanish  cari- 
cature, and  occasionally  achieves  an  effective 
and  impelling  work.  In  Buenos  Ayres,  Sirio — 
influenced  by  the  Germans  of  the  "wood-cut 
school" — and  Alvarez,  a  portraitist  of  featural 
exaggerations,  lead  the  field ;  and  in  Cuba,  Mas- 
saguer,  tho  constantly  varying  his  technique, 
has  achieved  a  noteworthy  proficiency. 

Mexico  has  given  birth  to  numerous  cari- 
caturists ;  and  several  competent  craftsmen 
have  been  developed.  De  Zayas  has  insight  and 
a  markedly  pronounced  artistic  scnsibilite ;  and 
Cabral  has  carried  distortion  to  an  unusual 
extreme  without  sacrificing  the  inner  truth. 
Italy,  likewise,  has  produced  many  caricaturists 
t>f  varying  personalities  and  techniques,  and  in 
Tirelli  possesses  a  master  of  the  grotesque  and 
monstrous.  His  war  series — '■'/  Protagonisti" 
— ranks  high  in  its  particular  field. 

In  the  United  States  there  are  a  few  men  in 
whom  the  spirit  of  caricature  has  taken  lodg- 
ment. We  are  too  young  to  have  produced  so 
mature  and  refined  an  art.  Our  cultural  stand- 
ards are  not  yet  sufficiently  fixed ;  and  the  tra- 
ditions of  institutionalism  have  not  yet  become 
assimilated.  However,  we  have  already  evolved 
several  individualistic  craftsmen,  altho  in  none 
of  them  are  there  more  than  faint  indications 
of  the  true  instinct  for  caricature.  Only  Alfred 
(Continued  on  page  73) 


Page  Sixty-Eight 


SUADOWLAND 


From  Moscow  Cellar  to 
New  York  Roof 

(Continued  from  page  29) 

being  made  a  target  for  the  shafts  of  wit  of 
Balieff  and  his  irreverent  colleagues.  In  those 
days  Nikita  did  not  wear  a  faultlessly  fitting 
dress  suit  and  well-laundered  linen.  Jackets, 
blouses  and  loose  flowing  ties,  or  no  ties  at 
all,  were  de  rigueur,  and  better  dressed  mem- 
bers of  the  audience  provoked  impolite  com- 
ment. But  most  of  the  visitors  grinned  and 
bore  it ;  and  the  less  thin-skinned  even  liked 
it,  and  would  sometimes  retort  with  vigor  and 
point. 

Today,  or  rather  tonight,  the  Chauve-Souris 
has  emerged  from  its  cellar  and  is  perched  on 
the  top  of  a  high  roof  of  a  beautiful  building 
occupying  one  of  the  most  commanding  sites 
in  New  York,  overlooking  the  park  on  one 
side  and  on  the  other  the  busiest  and  brightest 
part  of  the  city.  Balieff,  as  bland  if  not  so 
biting  as  of  yore,  his  Rabelaisian  tendency 
carefully  controlled,  wears  a  beautiful  dress 
suit  and  spotless  white  shirt  and  vest.  He 
is  described  in  the  program  as  "Director  and 
Stage  Autocrat,"  for  of  course  anything  Rus- 
sian must  have  its  autocrat,  and  ever  and  anon 
he  emerges  from  behind  the  curtains  and  con- 
verses with  a  delighted  audience  in  an  extra- 
ordinary jargon,  and  the  more  he  contorts  his 
phrases  and  distorts  his  words,  the  better  every- 
body likes  him ;  so  why,  it  may  be  asked, 
should  he  seek  to  improve  his  English  as  the 
foreign  resident  is  usually   exhorted  to  do? 

The  Secret  of  the  Charm 

People  go  to  the  new  show  of  the  Chauve- 
Souris  as  they  went  to  that  which  preceded  it, 
largely  to  see  and  hear  Balieff,  to  delight  in 
his  quaint,  convoluted,  monosyllabic  speeches, 
and  to  watch  that  wonderful  smile  as  it  gradu- 
ally spreads  and  illuminates  the  whole  of  his 
spacious  countenance.  As  for  the  new  enter- 
tainment, it  has  the  true  Russian  spirit  of 
naivete.  Episodes  of  boisterous  humor  and 
rollicking  drollery  are  varied  by  others  of  quiet 
simplicity  and  beauty,  with  the  occasional  and 
inevitable  undercurrent  of  sadness  and  tragedy. 

Delightfully  tinkling  strains  by  no  less  a 
composer  than  Liadoff  accompany  a  musical 
snuff-box  episode,  in  which  the  characters  are 
marionettes,  A  group  of  Black  Hussars 
( "There-are-no-black-sol-diers-today,"  remarks 
Balieff,  "they-are-all-red" — the  last  word  al- 
most shouted)  sing  the  sonorous  and  gay  regi- 
mental songs  of  the  past  ("They-do-not-sing- 
any-more;  they  'oivl!" — another  shout  from 
Nikita).  The  soldiers  are  sitting  in  the  dark 
shadows  of  a  cellar  against  an  arched  window, 
with  a  strong  blueish  light  outside — a  finely 
composed  picture  by  Remisoff,  who  is  respon- 
sible for  the  entire  decors,  which  is  finely 
imaginative  as  well  as  humorous  when  needs  be. 

A  New  Program 

The  famous  Wooden  Soldiers  have  been 
kept  in  the  new  program,  and  march  and  coun- 
ter march  with  unfaltering  rigidity  and  an  ex- 
quisitely bland  vacuity.  Spanish  students  sing 
an  absurd  mock  serenade  to  the  single  word 
"Pepita,"  until  an  irate  parent  appears  on  the 
balcony  and  threatens  them  with  a  drenching. 
"Copenhagen  Porceleine"  takes  the  place  of 
the  Dresden  or  Willow  Pattern  plate  with 
charming  effect,  and  musically  the  episode  is 
exquisite.  There  are  broad  Russian  farces 
like  "Moscow  Fiances"  and  "The  Three  Hunts- 
men," and  half  a  dozen  other  numbers,  in- 
cluding, by  request,  the  adorable  but  squawky 
Katinka,"  and  before  one  realizes  it  between 
two  and  three  hours  of  unalloyed  enjoyment 
have   slipped  by. 

Russia's  gifts  to  the  world  are  great  and 
numerous,  especially  in  the  forms  of  literature, 
music  and  art,  and  perhaps  can  never  be  ade- 
quately repaid,  altho  America  is  doing  some- 
thing in  that  direction  by  feeding  her  starving 
people.  She  has  added  to  our  obligations  by 
sending  us  the  Chauve-Souris,  and  it  is  hoped 
that  they  will  long  remain  to  show  American 
audiences  how  simplicity  and  rollicking  drollery 
can  be  combined  with  the   finest  art. 


The  Wonderful  Thing 

IN  LIFE  IS 

WOMAN'S  SECRET  CHARM 

What  Is  It?     How  Can  It  Be  Acquired? 
Are  You  Lonely? 

Many  a  woman  today,  who  craves  companionship  and  love, 
suffers  in  silence  without  knowing  why  she  is  neglected.  The  secret 
of  woman's  charm  is  that  natural  physical  perfection  which  lends  en- 
chantment wherever  she  goes — the  thing  that  makes  her  WOMAN 
in  the  first  place— irresistibly  draws  man  to  her.  That  charm  is  her 
"physical   beauty." 

Bust  Pads  Will  Not  Do 

No   man   loves    a   dummy.     There    is    no   appeal   in    false,    physical 

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astonishing. JJ 


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Dada  and  the  Dadas 


(Continued  from  page  43) 


including  the  whilom  Expressionism,  Futurism, 
and  Cubism,  as  so  many  narrow  academies  im- 
prisoning individual  liberty  inside  the  confines 
of  this  or  that  theory.  Fancy  a  Cubist  being 
dubbed  an  Academician !  Picture  the  ogres 
of  the  immediate  past  turned  into  mild,  inof- 
fensive conservatives  of  the  present !  There  has 
been  nothing  more  delicious  during  my  sojourn 
in  the  French  capital  than  encounters  with  sun- 
dry of  the  established  Cubists.  They  hold  the 
Dadas  in  horror,  deride  them,  vilify  them  as 
charlatans,  mountebanks,  monstrosities.  And 
only  a  few  years  ago,  the  Cubists  were  them- 
selves treated  to  such  epithets  by  an  outraged 
society.  Tomorrow,  the  Dadas  will  be  termed, 
old-fashioned.  In  fact,  many  people  are  al- 
ready bored  with  their  antics,  most  of  which 
have  become  painfully  familiar.     Such  is  Paris. 

The  antics  take  the  form  of  outlandish  maga- 
zines and  barbarous  public  exhibitions,  to  the 
accompaniment  very  often  of  jazz  music  of  a 
vintage  several  years  old,  imported  from 
America.  The  exhibitions  are  introduced  by 
strenuous  manifestos,  street  parades,  stump 
speeches  and  newspaper  controversies.  Riots 
are  not  infrequent.  A  typical  manifesto  fol- 
lows :  "Dada  raises  all.  Dada  knows  all. 
Dada  spits  on  all.  But  Dada  never  speaks  to 
you  of  Italy,  of  accordeons,  of  ladies'  panta- 
lettes, of  one's  country,  of  sardines,  of  Fiume, 
of  art  (you  exaggerate,  my  friend),  of  sweet- 
ness, of  D'Annunzio,  what  a  horror,  of  hero- 
ism, of  mustaches,  of  luxury,  of  the  ideal  (it 
is  lovely),  of  Massachusetts,  of  the  past,  of 
perfumes,  of  salads,  of  genius,  genius,  genius, 
of  the  eight-hour  day.  Never,  never,  never. 
Dada  does  not  speak.  Dada  has  no  fixed  idea. 
Dada  doesn't  catch  flies.  Futurism  is  dead.  Of 
what?  Of  Dada.  A  young  girl  committed 
suicide.  Of  what  cause?  Of  Dada."  And  so 
on. 

Tristan  Tzara  is  against  holding  opinions. 
"I  wrote  that  manifesto  to  show  that  you  can 
perform  two  opposing  acts  together,  in  one  sole 
respiration  ;  I  am  against  action ;  for  continual 
contradiction,  for  affirmation  also  I  am  neither 
for  nor  against  and  I  do  not  explain,  for  I  hate 
good  sense."  In  other  words,  all  things  are 
equal,  there  is  no  high  or  low,  good  or  bad. 
Tzara  is  the  philosopher  of  Dada.  Some  of  the 
leading  poets  are  Andre  Breton,  Paul  Eluard, 
Francis  Picabia,  Phillipe  Soupault,  Louis  Ara- 
gen,  Paul  Morand.  Of  them  all,  Picabia  ex- 
cells  in  gossip,  vituperation  and  satire.  Sou- 
pault is  very  fond  of  jingles.  They  dont  begin 
to  compare  with  the  exquisite  nonsense  of  that 
supreme  adept   in  tom-foolery,    Lewis    Carroll, 


who  can  out-dada  any  Dada  and  still  leave 
more  sense  behind  him  than  most  prize  logi- 
cians. It  was  safe  for  Carroll  to  have  two  plus 
two  come  to  five,  because  he  had  already  mas- 
tered mathematics  and  could  afford  to  try 
precipices  of  theory  and  tight-ropes  of  con- 
clusion and  yet  land  on  the  other  side  of  the 
chasm  and  gravely  return  to  terra  firma.  But 
there  never  was  and  never  will  be  another  Car- 
roll. No  Dada  and  no  amount  of  Dadaism  can 
match  the  adventures  of  Alice.  Carroll's  ncn- 
sense  is  a  product  of  exuberance,  Soupault's 
and  the  other  Dadas'  a  tell-tale  of  disgust, 
weariness,  and  a  desire  to  annihilate  the  world 
along  with  the  late  war.    Thus  writes  Soupault : 

Philippe   Soupault  on  his  bed — 
born  on  Monday, 
baptized  Tuesday, 
married  Wednesday, 
sick   on   Thursday, 
agonized   Friday, 
dead    on    Saturday, 
interred   Sunday — 
this    is    the    life    of    Philippe    Soupault. 

Paul  Morand  seems  to  have  the  richest  poetic 
endowment  and  approximates  a  closer  standard 
of  making  his  contradictions  intelligible  than 
the  other  Dadas.  The  leading  painters  and 
sculptors  are  G.  Ribemont-Dessaignes,  Francis 
Picabia,  Max  Ernst,  Marcel  Duchamp,  Jean 
Crotti,  and  H.  Arp.  Arp's  portrait  of  Tzara, 
appended  herewith,  has  enjoyed  numerous  re- 
productions thruout  Europe.  Likewise  Ribe- 
mont-Dessaignes' sculpture-portrait  of  a  ball 
of  twine,  a  twig  and  a  sponge.  A  Dada  ex- 
hibition is  usually  crammed  with  such  humbugs, 
along  with  the  throngs  who  come  to  admire 
or  pooh-pooh  them,  according  to  one's  tem- 
perament. 

Just  what  will  become  of  Dada  and  the  Dada- 
ists  nobody  is  as  yet  daring  enough  to  prophesy. 
M.  J.  E.  Blanche,  himself  a  Dada,  declares  that 
"Dada  will  only  continue  to  exist  by  ceasing  to 
be."  If  you  can  elucidate  this  puzzle,  you  may 
reach  a  conclusion  about  Dada.  Then  again,  it 
may  be  still  better  not  to  reach  a  conclusion. 
If  Dada,  with  or  without  theory,  can  give 
birth  to  a  man  or  two  of  the  first  rank — like 
the  Cubism,  Expressionism  and  Futurism  it 
seeks  to  destroy — Dada  will  have  justified  it- 
self. If  it  doesn't  succeed  in  this,  the  world 
will  be  well  off  anyhow  in  having  been  enter- 
tained at  a  time  when  it  was  more  sorely  in 
need  of  distraction  than  at  any  other  time  in 
historv.  If  the  world  ever  recovers  from  its 
recent  wound,  such  fellows  as  the  Dadas  have 
provided  a  little  of  the  medicine :  laughter  as 
good  as  any  other.  For  this  may  the  gods  re- 
member them. 


iimiiiiiiiiiiiimiiiiiiiiNimi iiiiiiiiiimmmmiu 


Paul  Swan,  Artist 


(Continued  from  page  23) 


PARTING 


So  thus  have  you   passed  upon  your   destined 
way, 

You  whom  I  loved ! 
Your    going    imaged    not    the    parting    I    had 
dreamed — 

There  were  no  tears ! 
For  you,   a  glad  release, 
For  me,  a  vague  and  sullen  dumbness ; 
And  I  had  rehearsed  so  often  to  call  you  back, 
Knowing  not  till  now  the  voicelessness  of  love! 

Despite  the  man's  versatility,  Paul  Swan 
will  always  be  known  chiefly  as  a  classic 
dancer,  and  back  to  this  subject  the  conver- 
sation veered.  Swan  said,  "People  are  forever 
trying  to  find  the  meaning  of  my  different 
dances.  That's  rather  absurd  and  unneces- 
sary. I  wish  they'd  try  to  enjoy  them  just 
for  their  beauty." 

Dr.  Rieder  has  said  of  Paul  Swan's  dancing: 
"It   springs    from   a   wealth   of   artistic  experi- 


ence. Its  appeal  therefore  is  of  the  very  high- 
est order ;  and  it  is  not  sensational  or  sensual, 
but  largely  intellectual.  To  appreciate  him 
fully,  requires  a  fine  sense  of  beauty  and  a  cul- 
tured mind." 

Paul  Swan's  productivity  and  industry  are 
rather  overwhelming.  Busy  as  he  is  with  por- 
trait commissions,  he  finds  time  to  rehearse 
strenuously  for  a  series  of  dance  matinees  that 
he  will  soon  give  at  the  Theatre  Fcmina  in 
Paris.  He  also  finds  time  to  design  his  own 
costumes  and  settings. 

We  were  very  much  impressed  by  Swan's 
keen  sense  of  humor.  He  delighted  in  jesting 
and  bantering  about  the  curious,  sensational 
stories  that  had  been  circulated.  He  said  the 
most  acceptable  tribute  that  had  ever  been  paid 
him  was  that  of  Zoe  Akins,  the  playwright. 
She  wrote:  "Nothing  that  Paul  Swan  himself 
will  ever  do,  will  be  more  interesting  than  what 
he  himself  is  now." 


Page  Seventy 


^UAUQWkAND 


John  Costigan  Carries 
the  Flame 

(Continued  from  page  11) 

proficiency  docs  not  make  him  academic.  There 
is  a  solid,  downright  honesty  in  Costigan  which 
saves  him  from  the  pitfalls  of  virtuosity.  This 
honesty  shows  in  everything  he  does. 

Costigan  derives  mainly  from  the  Impression- 
ist tradition,  which  has  given  so  much  vitality 
to  painting  in  our  day,  particularly  to  the  paint- 
ing of  landscape.  He  is  concerned  a  good  deal 
with  the  handling  of  light  and  atmosphere,  but 
this  concern  of  his  does  not  lead  him  to  forget 
that  there  is  such  a  thing  as  solidity.  Within 
the  shimmering  mysteries  of  light  and  atmos- 
phere that  envelope  his  pictures  we  feel  the 
planes  and  dimensions  of  a  solid,  honest  earth. 
It  is  an  earth  for  walking  and  working  on,  as 
well  as  an  earth  to  look  at.  His  pictures  are 
full  of  the  gravity  and  depth  of  forms  bend- 
ing and  projecting  thru  three  dimensions. 

A  Fine  Feeling  for  Dimensions 

"I  dont  like  a  landscape  unless  I  feel  that  I 
can  walk  into  it,"  says  Costigan.  His  painting, 
"Last  Part  of  Winter,"  reproduced  at  the  be- 
ginning of  this  article,  might  be  called  a  plastic 
demonstration  of  that  statement.  "Girl  With 
Sheep"  illustrates  his  concern  with  atmospheric 
effect,  but  in  it,  too,  there  is  the  same  feeling 
for  gravity  and  dimensionality.  There  is  a  fine 
treatment  of  the  girl's  figure  beneath  the  re- 
vealing folds  of  dress  in  this  painting.  This 
interesting  use  of  the  human  figure,  and  of 
animals,  appears  in  many  of  Costigan's  can- 
vases.. Among  them  one  may  mention  "April," 
a  man  among  a  flock  of  sheep  in  the  trees 
against  the  sweep  of  a  hill,  the  mottled  April 
sunlight  saturating  woods  and  hillside ;  "In  the 
Autumn  Woods,"  a  figure  bathed  in  the  sub- 
dued ruddy  glow  of  the  woods  in  autumn. 

In  his  landscapes  the  passage  of  light  among 
the  tree  trunks  and  over  the  undulating  earth 
increases  the  feeling  of  solidity  and  movement. 
Costigan  studies  the  milieu,  the  surroundings 
and  envelopments  of  his  forms,  but  he  never 
forgets  form  for  its  mere  surroundings. 
In  a  picture  like  "Last  Part  of  Winter,"  he 
makes  us  feel  the  depth  of  the  woods,  the 
strong  life  of  the  trees,  the  ever-renewed  vital- 
ity of  the  earth  breaking  out  of  the  grip  of 
winter.  One  feels  that  he  loves  nature.  That 
she  is  for  him  a  renewer  of  sympathies,  a  never- 
failing  source  of  inspiration. 

A  Nature  Lover 

This  love  of  nature,  with  Costigan,  is  a  very 
real  thing.  It  is  not  simply  that  he  finds  her 
paintable,  a  pleasant  model  for  an  afternoon's 
sketching.  Nature  to  him  is  more  than  model : 
she  is  the  companion,  the  sustainer,  the  source 
of  life  and  beauty.  Looking  at  Costigan's 
paintings,  one  is  not  at  all  surprised  to  know 
that  he  lives  on  the  land.  He  has  a  farm  near 
Orangeburg,  N.  Y.,  where  he  stays  all  the 
year  'round,  painting  and  looking  after  his 
sheep,  cows,  goats  and  chickens.  Among  these 
creatures  of  the  earth,  he  finds  plenty  of  mate- 
rial for  his  art. 

Costigan's  work  was  first  exhibited  at  the 
MacDowell  Club  in  1915.  Since  that  time  it  has 
been  shown  at  the  Corcoran  Gallery  in  Wash- 
ington, in  the  exhibitions  of  1916,  1919  and 
1921,  and  at  a  number  of  Academy  shows.  At 
the  Academy  show  in  Brooklyn,  in  1920,  he 
won  the  third  Hallgarten  prize,  and  in  the 
same  year  he  took  the  water-color  prize  at  the 
Salmagundi  Club.  His  painting  shown  at  the 
1921  exhibition  in  the  Corcoran  Gallery  was 
sold  to  the  Duncan  Phillips  Memorial  Collec- 
tion, in  Washington.  Costigan's  work  is  soon 
to  be  seen,  I  believe,  in  a  one-man  show  in  one 
of  the  New  York  galleries. 

Costigan's  painting  is  winning  its  way  among 
the  critically  minded  lovers  of  American  art. 
For  a  man  in  his  middle  thirties,  he  has  already 
won  a  large  measure  of  appreciation.  It  is,  of 
course,  impossible  to  predict  what  the  future 
will  bring  to  a  painter  as  to  any  other  mortal. 
But  it  is  not  too  rash  to  predict  that  Costigan 
will  go  far  if  he  lives  up  to  the  promise  and 
the  fulfilment  of  his  early  work. 


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The  Picture  Book  De  Luxe  of  the  movie  world 

Presents  Rodolph  Valentino  as  the  first  winner  in  its  cover  contest  for  the  October 
number. 

A  Star  in  the  Making,  this  month,  is  Norma  Talmadge.  Remember  her  in  "The 
Battle  Cry  of  Peace"  and  "De  Luxe  Annie"  and  "The  Safety  Curtain"  and — all  her  other 
great  roles! 

An  article  on  "Famous  Salomes"  wonderfully  illustrated,  to  be  the  first  of  a  series. 
"Famous  Camilles"  in  preparation. 

The  prettiest  picture  of  Marion  Davies  ever  published. 

A  new  department  to  be  called  "Iris  In."     The  fourth  of  "The  Darkest  Hour"  series. 

Two  pages  of  pictures  from  Nazimova's  "Salome"  with  two  beautiful  drawings. 

A  double  spread  page  of  stills  from  photoplays  whose  inspiration  has  been  famous 
paintings:  The  "Hope"  of  Frederick  Watts,  "The  Bashful  Suitor"  of  Josef  Israel,  "The 
Beggar  Maid"  of  Sir  Edward  Burne-Jones,  and  "The  Young  Painter"  of  Rembrandt. 
This  is  the  most  artistic  and  ambitious  attempt  we  have  yet  made. 

No  lover  of  the  beautiful  can  afford  to  miss  this  number  of 

The  Picture  Book  De  Luxe  of  the  movie  world. 

QASSIC  for  October 


Page  Seventy-One 


SuADOWLAND 


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All  these  read  Beauty.  Why? 
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Beauty  tells  them  how. 

With  the  August  number,  sixteen 
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ing that  each  number  hereafter  will 
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A  Threshold  of  the  Long  Ago  is  Bath 


{Continued  from  page  54) 


of  old  Bath  he  espied  a  gentleman  who  had 
insisted  upon  wearing  his  top-boots  to  the  ball. 
Nash  went  over  to  him.  He  did  not  encourage 
innovations.  He  extinguished  the  guest  be- 
fore the  entire  assemblage  by  asking  him 
why  he  had  omitted  to  bring  in  his  horse. 

Yet  cities,  like  republics,  are  ungrateful 
things.  And  Nash,  who  for  years  had  been 
the  companion  of  royalty  and  the  adored  of 
all  women,  became  infirm.  He  lost  his  high 
authority.  Others  came  to  replace  him — after 
a  fashion  he  was  quickly  forgotten.  He  died 
in  poverty  in  a  mean  house  of  a  mean  street 
of  old  Bath  .  .  .  That  brought  him  to  atten- 
tion again.  The  Corporation  of  Bath  gave  him 
a  grand  funeral.  It  erected  a  statue  to  his 
distinguished  memory  in  the  Pump  Room.  And 
finally  elevated  his  tomb  to  a  place  among 
those  of  the  princes  in  Bath  Abbey,  with  this 
single  significant  line  upon  his  monument : 

"Bathoniae   elegantiae   arbiter." 

A  Gothic  Church  that  Satisfies 

Great  as  is  the  Pump  Room,  Bath  Abbey, 
which  stands  cheek  by  jowl  with  it,  is  far 
greater  still.  Its  high  tower  we  have  seen 
dominating  the  first  views  of  the  city  that  one 
gets  from  the  railway  train.  That  tower,  it- 
self, arouses  no  high  praises  in  the  minds  of 
the  modern  Bathonians.  They  are  inclined  to 
think  that  without  the  high  spire  of  the  new 
Roman  Catholic  church  hard  by,  it  would  not 
give  the  proper  emphasis  to  the  skyline.  With 
this  view,  I  disagree.  Bath  Abbey,  to  me,  is 
one  of  the  most  completely  satisfactory 
churches  that  ever  I  have  seen.  In  some  ways 
it  is  like  a  handsome  woman,  whose  features 
individually  will  not  analyze  satisfactorily, 
yet  taken  together  produce  an  ensemble  tre- 
mendously  alluring. 

So  it  is  with  Bath  Abbey.  Taken  individu- 
ally, its  architectural  features  are  not  alluring. 
Frequently,  they  are  not  even  good.  The  main 
western  facade  with  its  double  rows  of  angels 
climbing  heavenward  on  Jacob's  Ladders  ex- 
cites one  risibilities.  They  are  fearfully  fat 
little  angels,  who  with  four  hundred  years  of 
steady  climbing  (but  no  arriving)  ought  to  be 
as  thin  as  athletes.  Moreover,  time  has  not 
dealt  gently  with  these  children.  It  takes  a 
deal  of  imagination  to  see  them  as  a  real  con- 
tribution to  the  artistic  treasures  of  Great 
Britain. 

Yet,  do  not  make  fun  of  Bath  Abbey.  Other- 
wise you  shall  have  to  eat  your  words  once 
you  have  gone  within  the  venerable  edifice. 
There,  surprise  awaits  you.  One  of  the  light- 
est, one  of  the  most  delicate,  one  of  the  most 
completely  satisfactory  Gothic  churches  that 
ever  you  have  visited.  This  is  bound  to  be  your 
verdict.  It  is  the  verdict  of  generations.  A 
church  which  in  its  details  is  generally  un- 
satisfactory, in  the  mass  is  a  rare  triumph  of 
light  and  beauty.  They  call  it  "the  lantern  of 
England,"  and  well  they  may. 

Analyzing  the  Quaint  Charm 

To  me,  however,  the  Bath  that  calls  with 
irresistible  appeal  is  the  Bath  of  the  open,  the 
Bath  of  the  high-reaching  downs  and  of  the 
lovely  streets  lined  with  lovelier  houses,  of 
the  town  itself.  When  I  walk  those  streets, 
I  realize  that  never  again  can  there  be  in  all 
this  world  a  town  quite  like  this.  Modern  con- 
ditions, chief  amongst  them  the  swift  develop- 
ment of  modern  urban  transport,  will  never 
again  give  us  a  strictly  resort  town  of  rows 
on  rows  of  tightly  built  city  houses.  Even 
Bath  is  beginning  to  turn  her  head  upon  her 
own  magnificence.  There  are  too  many  house- 
agents  signs  upon  these  old  houses.  If  you 
will  closely  observe,  you   will   find   that  many 


of  them  are  vacant,  and  have  so  been  this  long 
while.  Dust  gathers  in  their  great  rooms. 
The  fireplaces  upon  which  I  should  like  to 
write  a  book  have  been  cold  these  many  years, 
the  lovely  ceilings  are  faded  and  broken.  The 
houses  are,  far  too  many  of  them,  deserted. 
Modern  Bath,  which  does  her  best  to  hold 
her  population  at  about  an  even  fifty  thousand 
folk,  is  building  its  new  houses  detached  and 
in  fine  lawns  upon  the  hilltops. 

Yet  old  Bath  does  her  best  to  conceal  her 
scars,  her  visible  hurts  of  time.  She  has  an 
old  maid's  cunning  in  the  thing.  And  an  old 
maid's  family  pride  in  the  brass  plates  upon 
the  frontages  of  these  houses — here  Dickens 
lived,  and  here  Oliver  Goldsmith,  and  here 
Horace  Walpole ;  here  Sheridan,  the  drama- 
tist ;  and  Rauzzini,  the  musician ;  John  Wood, 
the  architect;  and  Sir  William  Herschel,  the 
astronomer.  In  fact,  it  was  at  his  house  at 
19  New  King  Street,  Bath,  that  Herschel  dis- 
covered Uranus  .  .  .  The  names  multiply : 
Sir  Thomas  Lawrence,  Gainsborough,  Words- 
worth, Richardson,  Macaulay,  Southey,  Louis 
Napoleon,  Queen  Charlotte,  George  IV — the 
list  runs  to  a  great  length.  You  ought  to 
know  your  English  history  well  when  you  go 
to  Bath.  Then  and  only  then  can  you  really 
walk  its  streets  with  the  great  figures  of  the 
long    ago. 

A  Literary  Background  Desirable 

And  you  ought  to  know  English  literature 
as  well.  Certainly,  your  Dickens.  For  what 
is  Bath  without  its  suggestions  of  Mr.  Pick- 
wick and  every  turn  and  corner ;  at  the  White 
Hart  (as  I  have  said  on  the  precise  site  of  the 
Grand  Pump  Room  Hotel)  we  can  see  him 
again  being  welcomed  by  Angelo  Cyrus  Ban- 
tam, Esqre,  M.  C.  Here  it  was  that  Sam 
Weller  performed,  whilst  an  old  gentleman 
sitting  in  the  Institution  Gardens  but  last  year 
offered  to  show  me  the  very  house  where  the 
estimable  Mr.  Weller  was  entertained  at  "a 
friendly  swarry,  consisting  of  a  boiled  leg  of 
mutton  with  the  usual  trimmings,"  by  the  most 
dignified  flunkey,  Mr.  John  Smaucker  and  "a 
select  company  of  Bath  footmen."  The  little 
old  gentleman  averred  it  as  his  humble  opinion 
that  the  old  town  once  had  held  flunkey's  clubs. 
But  upon  being  pressed  in  the  matter  changed 
the  talk  to  the  marital  possibilities  of  the 
Prince  of  Wales — a  most  perplexing  matter 
to   the   English. 

If  time  but  permitted,  I  should  take  you  out 
into  the  lovely  vicinage  of  Bath ;  to  the  nice 
old  cathedral  city  of  Wells,  if  you  would  but 
give  me  the  opportunity,  certainly  to  Castle 
Coombe  and  Farleigh  Castle.  But  I  should 
never  let  you  leave  Bath  without  ascending  at 
least  to  Camden  Crescent.  A  _  steep  climb,  but 
very  much  worth  while.  It  is  up  there  that 
one  goes  to  see  the  day  die ;  the  sun  goes  slowly 
down  over  the  western  hills  that  send  their 
half -day  shadows  down  upon  the  Somerset 
Avon — slowing  wending — its  way  to  Bristol 
and  the  sea.  At  autumn  this  view  is  at  its 
best.  Preferably  in  a  sharp  October  day  when 
a  lifeless,  breathless  air  sends  the  thin  grey 
smoke  straight  upwards  from  the  many  chim- 
ney-pots of  the  town  .  .  .  The  smoke  settles 
into  grey  haze.  The  narrow  streets  and  the 
irregular  rows  of  roof-tops  lose  their  "defini- 
tion. Only  the  spires,  the  square  tower  of 
Bath  Abbey,  and  the  silhouetted  rims  of  those 
western  hills  remain  definite  and  outlined. 
Bath  is  falling  to  sleep.  Never  those  twin- 
kling lights  that  modernity  has  set  into  her 
streets  and  houses  .  .  .  Bath  is  falling  to 
sleep.  She  loves  sleep,  this  dear  old  lady  .  .  . 
Other  towns,  and  newer  and  far  less  lovelier 
ones,  may  prate  of  progress  .  .  .  Bath  slum- 
bers in  her  memories. 


Page  Seventy-Two 


SUAUOWLAND 


Call  the  Play -Doctor 

(Continued  from  page  35) 


Mr.  Cohan  took  the  ten  characters  of  the  play 
and  constructed  an  entirely  new  story.  It  was 
then  a  hit. 

It  would  appear  that  even  most  adroit  dram- 
atists and  those  thoroly  acquainted  with  the 
theater,  find  it  necessary  to  remodel  either  be- 
fore or  during  production.  It  may  be  stated, 
then,  that  the  dramatist  who  refuses  to  have 
any  rewriting  of  his  plays  is  one  who  has 
small  acquaintance  with  the  theater.  Dion 
Boucicault  not  only  rewrote  old  plays,  but,  I 
am  credibly  informed,  was  in  the  habit,  during 
rehearsals,  of  rewriting  scenes  after  the  cus- 
tom of  Mr.  Fitch,  Mr.  Belasco,  and  Mr.  Cohan. 

It  is  generally  understood  that  to  get 
Augustus  Thomas  to  change  a  line  would  be 
about  the  same  as  to  ask  him  to  lop  off  his 
right  arm.  However,  on  the  first  night  of 
"The  Earl  of  Pawtucket"  in  London,  John 
Harwood,  who  played  the  part  of  Wilkins,  the 
valet,  put  in  a  gag  unbeknown  to  Mr.  Thomas. 
After  the  laughter  had  died  down,  the  actor 
became  alarmed,  knowing  the  author  was  in 
front ;  but  Mr.  Thomas  came  around  after 
the  show  and  said  :  "Harwood,  I  did  not  know 
until  tonight  that  Wilkins  was  such  a  good 
part.  I  like  that  gag  you  put  in.  Put  it  in 
again  tomorrow  night  and  we  will  use  it  as 
the  tag  of  the  play."  The  line,  strange  as  it 
may  seem,  was  "It  is  raining."  At  that  time 
people  had  to  be  rather  careful  with  Augustus 
Thomas,  as  he  carried  something  that  looked 
like  a  malacca  cane,  but  which  was  in  reality 
a  sokd  bar  of  steel.  Young  Harwood  feared 
the  malacca  cane. 

When  we  come  to  examine  the  history  of 
very  many  highly  successful  plays,  we  discover, 
with  few  exceptions,  that  the  work  of  the 
dramatist  is  aided  enormously  by  an  expert 
producer,  or  "Play-Doctor,"  during  rehearsals. 
Another  point  may  be  considered :  a  great  num- 
ber of  plays  which  were  failures  when  first  pro- 
duced, were  rewritten  and  succeeded  after  their 
weak  points  had  been  discovered  during  perfor- 
mances. "Shore  Acres,"  for  example,  was  first 
presented  under  the  name  of  "The  Hawthornes," 
touched  up  by  Mr.  Heme  and  produced  under 
"Shoreacres  Subdivision,"  and  finally  retouched 
and  reproduced  under  the  title  "Shore  Acres." 
"Hearts  of  Oak"  was  a  failure  under  the  name 
of  "The  Mariner's  Compass"  and,  rewritten, 
was  a  success  under  the  name  "Hearts  of  Oak." 
The  late  A.  M.  Palmer  produced  success  after 
success  and  he  stated  that  these  successes  were 
due  in  great  part  to  the  fact  that  these  plays 
were  submitted  to  drastic  revision  either  by 
Alfred  R.  Cazauran  or  Eugene  Presbury. 

Of  plays  that  failed  on  try-out  productions, 
and  finally  patched  up  by  the  Play-Doctor,  one 
of  the  best-known  examples  was  Bronson 
Howard's  "Shenandoah."  Mr.  Belasco's  re- 
writing, and  ultimate  great  success  of  this 
drama,  is  well  known  to  playgoers.  The  only 
successful  play  of  which  I  ever  heard  that  was 
played  exactly  as  written — not  a  syllable 
changed — was  Booth  Tarkington's  "Clarence." 
During  rehearsals  Frederick  Stanhope,  the  pro- 
ducer, suggested  to  Mr.  Tarkington  the  trans- 
position of  a  certain  line.  The  change  was 
made.  It  was  rehearsed  for  several  days. 
Came  the  dress  rehearsal,  when  Mr.  Stanhope 
discovered  that  he  had  been  mistaken,  apolo- 
gized for  the  change,  and  it  was  then  replaced 


as  written.  On  the  other  hand,  Mr.  Tarking- 
ton's play,  "The  Country  Cousin,"  was  pro- 
duced five  times,  and  during  each  interval  was 
rewritten  by  the  author. 

After  many  years  around  the  theater  I  can 
state,  truthfully,  that  I  have  never  seen  a  play 
produced  which  was  a  success  that  wasn't  given 
what  might  be  called  a  drastic  overhauling, 
either  before  or  during  production.  I  have  seen 
many  plays  brought  to  success  which  owed  that 
success,  in  great  part,  to  scenes  which  were  in- 
troduced either  at  rehearsals  or  while  it  was 
being  presented  out-of-town. 

Only  lately  I  saw  a  play  at  Atlantic  City. 
I  asked  the  producer  the  next  day  how  he  had 
permitted  certain  things  to  happen  in  the  play — 
things  which  were  inimical  to  its  success.  He 
told  me  that  the  dramatist  hed  had  these  vari- 
ous blotches  pointed  out,  but  had  refused  to  al- 
low any  changes  to  be  made  at  rehearsal.  Now, 
that  the  play  was  produced,  this  author  was 
most  contrite  and  anxious  to  assist  the  pro- 
ducer in  making  necessary  changes.  I  saw  this 
play  in  New  York  some  weeks  later  and  was 
pleased  that  all  the  absurdities  in  the  first  per- 
formances   had   been    eliminated. 

Many  a  likely  play  has  gone  to  the  store- 
house thru  the  stubbornness  of  the  dramatist 
who  refused  to  have  his  manuscript  tampered 
with. 

Those  of  the  theater  Know  very  well  that 
what  is  really  in  a  play  cannot  be  discovered  in 
the  reading.  Often  a  play  which  seems  a  good 
sound  piece  of  workmanship,  is  put  in  rehearsal 
and  once  in  the  hands  of  actors,  it  is  found  that 
it  simply  wont  act.  Without  the  actors — nobody 
can  tell !  The  action  and  reaction,  one  charac- 
ter against  the  other,  reveals  the  weakness 
which  the  Play-Doctor  must  mend.  Then,  too, 
many  plays  intended  as  straight  drama,  but 
owing  to  the  audiences  discovering  the  ludicrous 
in  them,  have  been  played  as  farce.  Some  of 
these,  of  recent  years  were :  "Officer  666,"  "The 
Bad  Man,"  "Bulldog  Drummond,"  and  "The 
Manoeuvers  of  Jane."  Let  us  take  as  examples 
two  musical  pieces  in  town  to-day,  which  are 
hits.  Both  of  these  were  presented  out-of-town, 
and  both  seemed  hopeless.  One  of  them  was 
put  in  the  hospital  and  underwent  a  major 
operation.  The  other  enjoyed  having  two  clever 
actors  in  the  cast.  One  elaborated  his  part  with 
considerable  skill,  while  the  other  wrote  in  two 
important  scenes.  When  the  play  was  produced 
these  two  scenes  were  the  high-lights  of  the 
piece.  But  every  musical  piece  cannot  have  a 
Charles  Judels. 

In  recent  years  the  Play-Doctor,  or  producer, 
has  come  to  appreciate  his  importance  to  such 
an  extent  that  he  is  able  to  exact  a  percentage 
of  the  profits,  or  a  part  of  the  author's  royal- 
ties. Indeed,  there  are  several  specialists  who 
will  not  undertake  to  produce  a  play  under  any 
other  conditions.  Outside  of  Mr.  Belasco  and 
Mr.  Cohan,  the  best-known  specialists  of  the 
time  are :  Sam  Forrest,  Frederick  Stanhope, 
Max  Marcin,  John  Harwood,  Robert  Milton, 
William  Post,  Roi  Cooper  McGrue,  Oscar 
Eagle,  Hugh  Ford  and  Walter  Hackett.  The 
tales   these  men  could  tell ! 

There  is,  of  course,  another  side  to  the  pic- 
ture. Owen  Davis  lately  said :  "Some  plays  are 
born  rotten,  others  have  rottenness  thrust  upon 
them." 


ll  MlilMiiiiuiiij  in  mimiimmii  Minimi  urn  mm immimmmmij 


The  Exacting  Art  of  Caricature 


(Continued  from  page  68) 


Frueh  and  Ralph  Barton  have  actually  achieved 
any  degree  of  proficiency   in  this   field. 

Frueh  is  European  in  manner,  and  at  times 
achieves  striking  critical  likenesses  with  a  few 
strokes  of  the  pen — likenesses  in  which  the 
persons  limned  are  revealed  as  embodiments  of 
individual  character.  Frueh's  very  cleverness, 
however,  tends  to  defeat  his  aim.  His  amazing 
adroitness  far  outstrips  his  analytic  penetra- 
tion ;  and  the  attractiveness  of  his  technique — 
his  fascinating  surface  brilliancy— focuses  at- 
tention on  the  externals  of  his  subject,  and  de- 
tracts  from  a  more  leisurely  contemplation  of 


inner    qualities.      All    this    is    opposed    to    the 
animating  spirit  of  the  best  caricature. 

Barton,  on  the  other  hand,  excels  in  his  in- 
tellectual qualities  more  than  in  his  technique. 
One  is  attracted  by  his  cultural  attributes 
rather  than  his  manual  dexterity.  As  yet  his 
technique  is  tentalive — he  is  still  searching  for 
a  personal  means  of  pictorial  speech.  But  even 
now  he  has  succeeded  in  many  instances  in 
making  his  critical  intelligence  more  or  less 
articulate.  All  in  all,  he  bears  a  closer  re- 
lationship to  the  European  masters  of  cari- 
cature than  any  of  his  compatriots. 


Are  you 
a  sensitive  person? 

NATURALLY,  you  are.  Every 
person  of  culture  and  refinement 
possesses  those  finer  sensibilities  that 
mark  the  gentleman  and  gentlewoman. 

And  particularly  are  such  people 
sensitive  about  the  little  personal 
things  that  so  quickly  identify  you  as  a 
desirable  associate — socially  or  in  busi- 
ness. 

Attention  to  the  condition  of  your 
breath  ought  to  be  as  systematic  a  part 
of  your  daily  toilet  routine  as  the 
washing  of  your  face  and  hands.  Yet 
how  many,  many  men  and  women  neg- 
lect this  most  important  precaution ! 

The  reason  is  a  perfectly  natural 
one.  Halitosis  (or  unpleasant  breath, 
as  the  scientific  term  has  it)  is  an  in- 
sidious thing  you  may  be  troubled  with 
and  still  be  entirely  ignorant  of. 

Your  mirror  can't  tell  you.  Usually  you 
can't  tell  it  yourself.  And  the  subject  is 
too  delicate  for  your  friends — maybe  even 
your  wife  or  husband — to  care  to  mention 
to  you.  So  you  may  unconsciously  offend 
your  friends  and  those  you  come  in  inti- 
mate contact  with  day  by  day. 

Halitosis  (unpleasant  breath)  is  usually 
temporary,  due  to  some  local  condition. 
Smoking  often  causes  it,  the  finest  cigar 
becoming  the  offender  even  hours  after  it 
has  brought  the  smoker  pleasure.  Again, 
halitosis  may  be  chronic,  due  to  some  or- 
ganic disorder  which  a  doctor  or  dentist 
should    diagnose    and   correct. 

Most  forms  of  halitosis,  however,  may 
easily  be  overcome  by  the  regular  use  of 
Listerine,  the  well-known  liquid  anti- 
septic,  as  a  gargle   and  mouth-wash. 

Listerine  possesses  unusually  effective 
properties  as  an  antiseptic.  It  quickly 
halts  food  fermentation  in  the  mouth  and 
dispels  the  unpleasant  halitosis  incident  to 
such  a  condition. 

Provide  yourself  with  a  bottle  today, 
and  relieve  yourself  of  that  uncomfortable 
uncertainty  as  to  whether  your  breath  is 
sweet,  fresh  and  clean. — Lambert  Pharm- 
acal  Company,  Saint  Louis,  Missouri. 


HALITOSIS 

use 
LISTERINE 


— — « 


~— 4 


Page  Seventy-Three 


SLlADOWLAND 


Perspiration 

can  be  remedied  without  harm  to  the 
skin  or  clothing.  There  are  several 
deodorants  known  to  chemistry,  but  there 
is  only  one  formula  that  possesses  all 
these  virtues : 

1.  Destroys  all  bodily  odors. 

2.  Checks    perspiration    without    discomfort. 

3.  Absolutely   harmless. 

4.  Actually  benefits  the  skin. 

5.  Serves  as  a  vanishing  cream. 

6.  A  dainty,  fragrant  snow-white  cream. 


ii 


WONDER" 


is  made  from  this  secret  formula,  and 
the  only  one.  You  will  use  no  other 
after  once  trying  Wonder.  Only  25  cents 
a  tube,  and  one  tube  might  save  an  ex- 
pensive gown  from  being  ruined  by  per- 
spiration at  the  dance — also  much  em- 
barrassment. 


Send  25  cents  (stamps  or  coin)  for 
a  trial  tube.  If  you  send  a  coin,  be  sure 
it  is  well  wrapped  to  prevent  cutting  thru 
envelope    and   getting    lost   in   the    mail. 

E.  FRANK  &  GO. 

34  Monroe   St.  Brooklyn,  N.  Y. 


Bl0Ti©rj.Diav&E. 


MAGAZINE 


OCTOBER 


We  announce  for  the  October  Mo- 
tion Picture  Magazine: 

"That  Indescribable  Something," 
by    Frederick    Van    Vranken.      Mr. 

Van  Vranken  takes  several  feminine 
stars  and  analyzes  their  particular  per- 
sonalities and — at  the  same  time — their 
stardom. 

Dick  Barthelmess  is  a  figure  of  con- 
siderable interest.  He  is  building  his 
career  surely.  Adele  Whitely  Fletcher 
interviewed  him  and  found  him  the  sane 
and  normal  youth  —  the  youth  with 
dreams  and  ideals.  It  is  a  fascinating 
story. 

Then  there  are  colorful  impressions, 
penned  by  Doris  Kenyon.  They  are 
delightful  things,  descriptive  of  a  num- 
ber of  screen  celebrities.  And  they  are 
endowed  with  the  same  charm  which  en- 
hances Miss  Kenyon's  work  on  the  stage 
and  on  the  screen  and  which  has  brought 
recognition  to  her  books  of  verse. 

All  in  all,  the  October  Motion  Pic- 
ture Magazine  is  beautiful  and  inter- 
esting—  just  the  thing  for  the  cool 
autumn  evenings. 

THE  OCTOBER 

M0TI0N.&ICTV&L 

MAGAZINE 


When  Doctors  Disagree 

{Continued  from  page  33) 


Middleton  Murry,  dean  of  English  critics, 
who  gave  a  forthright  appraisement,  tho  he 
let  the  cat  out  of  the  bag  by  saying  that  he 
understood  only  "four-fifths"  of  the  contents. 
Almost  unwittingly  he  referred  to  Joyce  as  a 
"half -demented  genius,"  and  later  regretted  it. 
After  meeting  the  author  in  Paris,  he  ex- 
pressed his  regret,  and  declared  that  he  would 
have  to  write  a  book  about  "Ulysses"  to  do  it 
common  justice. 

Arnold  Bennett  was  restrainedly  panegyric, 
greeted  the  book  as  the  work  of  a  high  order 
of  genius  and  as  a  literary  landmark.  He  was 
constrained  to  mention,  however,  that  he  was 
not  in  a  position  to  devote  the  rest  of  his  life 
to  a  discovery  of  what  "Ulysses"  was  all 
about. 

A  Parody  Done  in  the  Grand 
Manner 

What  is  "Ulysses"  about?  and  what  sort 
of  fellow  is  the  author  ?  are  two  questions 
that  are  pressing  hard   for   answers. 

I  was  told  by  Mr.  Joyce  that  the  most  satis- 
factory answer  to  the  first  question  has  been 
given  by  a  Frenchman.  Valery  Larbaud,  whose 
private  lecture  on  "Ulysses"  prior  to  its  pub- 
lication appeared  in  the  Nouvelle  Revue 
Francaise,  the  best  of  the  French  literary 
reviews.  M.  Larbaud  is  the  translator  of  the 
works  of  Samuel  Butler,  and  has,  for  a  for- 
eigner, an  uncanny  understanding  and  apprecia- 
tion of  English  literature.  His  lecture  serves 
as  an  admirable  and  almost  necessary  preface 
to  the  book  it  treats. 

As  to  the  second  question,  every  man  will 
have  to  find  his  own  answer.  If  you  can  read 
"Ulysses"  intelligently,  you  will  probably  know 
as  well  as  anyone  what  kind  of  a  man  is  Joyce : 
for  therein  he  has  inscribed  his  heart  and  mind 
and   soul. 

To  read  "Ulysses"  intelligently  you  will 
have  to  refresh  your  memory  with  the  ad- 
ventures of  the  great  Greek  hero,  after  whom 
the  book  is  named.  The  key  to  the  mystery  is 
to  be  found,  indeed,  in  Homer's  "Odyssey,"  of 
which  "Ulysses"  is  a  parody  done  in  the  grand 
manner. 

The  general  scheme  of  the  "Odyssey,"  or 
rather  the  author's  idea  of  that  scheme,  is 
closely  followed.  The  first  three  chapters  in 
"Ulysses"  correspond  to  the  first  five  songs 
of  the  "Odyssey."  Stephen  Dedalus  is  the  pro- 
totype of  Talemachus.  You  will  recognize 
him  as  the  hero  in  "The  Artist  as  a  Young 
Man,"  with  which  Joyce  won  a  place  in  the 
literary  firmament.  In  the  next  eight  songs 
of  the  "Odyssey,"  Joyce  finds  twelve  distinct 
episodes,  narrating  the  adventures  of  Ulysses. 
So  that  in  the  fourth  to  the  twelfth  chapter, 
inclusive,  of  "Ulysses"  you  make  the  acquaint- 
ance of  one  Leopold  Bloom,  the  spiritual  de- 
scendant of  Homer's  hero.  The  last  songs  of 
the  "Odyssey"  tell  of  the  return  of  Ulysses  to 
Ithaca  and  Penelope,  and  find  their  counter- 
part in  the  last  three  chapters  of  "Ulysses,"  de- 
scribing the  return  of  Bloom  to  his  wife, 
Molly. 

Dublin  is  the  Setting 

The  scene  is  laid  in  Dublin.  The  action 
takes  place  in  less  than  twenty-four  hours — 
to  be  precise,  between  eight  o'clock  of  one 
morning  and  three  o'clock  of  the  next. 

You  follow  Bloom  as  he  gets  out  of  bed; 
you  accompany  him  from  the  bed-chamber, 
where  he  has  just  left  his  wife,  to  the  kitchen, 
to  the  antichamber,  then  to  the  butcher,  to  a 
funeral,  the  editorial  rooms  of  a  newspaper,  a 
restaurant,  public  library,  the  bar  of  a  hotel, 
a  bathing  beach,  a  maternity  hospital,  the  "red 
light"  district  of  Dublin,  where  he  remains 
just  a  trifle  too  long.  The  last  chapter  is  de- 
voted to  a  transcription  in  unpunctuated  prose 
of  an  interior  soliloquy  by  Bloom's  wife.  Noth- 
ing is  left  unrecorded  of  the  lives  of  these 
Dubliners.  The  round  unvarnished  tale  is  told 
with  an  overwhelming  wealth  of  detail. 

But  "Ulysses"  is  not  merely  a  chronicle.  In- 
terwoven into  the  action  are  veritable  essays 
on  philosophy,  theology,  literary  criticism, 
politics  and  history.     The  latest  scientific  the- 


ories are  discussed.  The  interludes  and  digres- 
sions are  all  of  a  piece  with  the  action,  and  the 
comedy  in  eighteen  episodes  is  a  complete, 
carefully  organized  unit. 

When  you  perceive  the  artistic  unity  of  the 
book,  all  sorts  of  analogies  and  correspondences 
suggest  themselves,  and  back  of  the  brilliant 
melange  of  words  and  deeds,  profound  obser- 
vations, inconsequential  drolleries  and  splendid 
images,  you  begin  to  realize  there  is  a  design 
far  more  complicated  than  you  at  first  thought. 

Each  episode,  indeed,  has  its  esoteric  sig- 
nificance, its  particular  symbol,  representing  an 
organ  of  the  human"  body,  and  is  composed  in 
a  distinct  style.  Let  us  take  an  example :  epi- 
sode four  of  the  adventures  of  Bloom.  Its 
unwritten  title  in  Aeolus.  The  scene  is  laid 
in  the  editorial  rooms  of  a  newspaper.  The 
organ  to  which  it  corresponds  is  the  lungs. 
The  art  of  which  it  treats  is  rhetoric.  Its 
color  is  red.  The  symbolic  figure  is  the  editor. 
Journalism  is  compared  to  incest.  (Upton  Sin- 
clair take  note.) 

This  plan  Joyce  has  designed  for  himself, 
not  for  the  reader.  There  is  no  preface,  no 
chapter  heading  or  subhead  to  reveal  it.  It 
was  this  omission  of  any  clue  to  the  cunningly 
concealed  plan  of  the  book  that  so  irked 
Arnold  Bennett  that  he  said  Mr.  Joyce  had 
overstepped  the  bounds  of  courtesy  to  his  read- 
ers. But  courtesy  is  a  relative  thing  after  all, 
and  to  a  lettered  person  much  of  the  charm  of 
the  book  would  be  lost  by  aids  to  the  under- 
standing. There  is  a  fascination  in  solving 
mysteries. 

Scholars  have  variously  interpreted  the  char- 
acter of  Homer's  hero,  whom  Joyce  has  at- 
tempted to  modernize,  so  to  speak,  in  the  per- 
son of  Bloom.  We  know  that  he  is  a  very 
human  man.  He  loves  his  country,  his  mother 
and  father,  his  wife,  his  son  and  his  friends. 
When  confronted  by  the  sufferings  of  others, 
he  is  sympathetic  and  benevolent.  But  linked 
with  his  virtues  are  also  human  weaknesses. 
This  is  likewise  true  of  Leopold  Bloom.  He  is 
afraid  of  death.  He  dallies  too  long  on  Circe's 
isle,  as  Bloom  does  at  the  brothel.  In  brief, 
Bloom  is  entirely  human,  no  better  and  no 
worse  than  most  of  us.  And  the  conditions  of 
existence  in  the  ancient  world  where  Ulysses 
has  his  being  are  found  to  be  negligibly  differ- 
ent from  those  in  modern  Dublin. 

About  the  Author 

And  now  a  few  words  concerning  the  author 
himself. 

I  first  met  Joyce  in  the  cosy  book  shop  of 
his  publisher,  Miss  Sylvia  Beach,  an  American, 
on  the  rue  de  l'Odeon,  Paris.  (Let  it  be  said 
that  the  book  is  a  monument  to  her  enterprise 
and  courage :  for  in  view  of  its  erstwhile  sup- 
pression in  the  "Little  Review"  the  chance  of 
its  success  was  not  great,  and  the  outlay  was 
heavy.  Joyce  and  his  book  have  met  the  same 
fate  accorded  Baudelaire,  Flaubert  and  Whit- 
man.) 

James  Joyce  was  born  in  1882  at  Dublin. 
He  comes  of  an  old  family,  originating  from 
the  south  and  west  of  Ireland — that  Ireland, 
which  has  its  affinities  with  Spain,  France  and 
Italy,  and  to  which  England  is  a  foreign  coun- 
try, notwithstanding  the  bond  of  a  common 
language. 

He  was  a  pupil  of  the  Jesuit  Fathers,  and 
was  given  a  solid  training  in  the  classics.  He 
expresses  no  opinion  either  way  in  regard  to 
the  Jesuits,  tho  he  has  told  me  that  from  the 
point  of  view  of  his  intellectual  development 
he  owes  them  much. 

His  studies  of  the  humanities  concluded, 
Joyce  devoted  himself  to  the  pursuit  of  medi- 
cine, first  at  the  University  of  Dublin,  later  in 
Paris.  At  the  same  time  he  studied  music 
and  philosophy — scholastic  and  Greek — for  his 
own  pleasure  and  without  any  view  to  a  career. 
Returning  to  Ireland,  he  married,  soon  expatri- 
ated himself,  and  lived  at  Zurich,  Trieste  and 
Rome,  getting  a  livelihood  by  teaching.  Mean- 
while, he  continued  his  philosophical  and 
mathematical  pursuits.  Altogether  he  spent 
fourteen  years    in    Italy,    and   it   was    in    Italy 


Page  Seventy-Four 


that  his  two  children  were  born.  They  speak 
Italian   as    their   native   tongue. 

As  an  Irishman,  Joyce  took  no  effective 
part  in  the  war.  He  feels  little  or  no  con- 
cern   for    Ireland's    internal    conflicts. 

"I  dont  give  a  d n  what  they  do  there," 

he  said  recently,  after  his  wife  and  children 
had  left  Paris  for  Dublin.  "My  only  con- 
cern is  for  the  safety  of  my  family."  He  was 
worried  to  the  point  of  despair  that  something 
might  happen  to  them.  His  fears  were  not 
groundless :  for  in  a  few  days  he  received  a 
cable,  saying  that  the  train  in  which  they 
were  riding  to  Galway  was  bombed  and  they 
were    forced   to    return    to    London. 

So  Irish  That  the  Irish  Hate  Him 

Joyce  is  disowned  equally  by  the  Nationalists 
and  Unionists.  He  fights  no  cause,  belongs  to 
no  faction,  and  in  his  remarks  on  the  political 
situation  in  Ireland  maintains  an  impartial  at- 
titude, looking  at  conditions  from  the  point  of 
view  of  a  historian  ;  and,  while  he  is  never  per- 
sonally involved  with  the  interests  of  his  coun- 
try, he  is,  as  James  Huneker  once  said  of  him, 
so   Irish   that   the   Irish   hate   him. 

However,  his  books  cannot  help  but  enlarge 
the  respect  of  the  intellectuals  of  all  nations 
for  Ireland.  What  Ibsen  was  to  Norway, 
what  Strindberg  was  to  Sweden,  what  Nietz- 
sche was  to  Germany,  what  Romain  Rolland  is 
to  France,  James  Joyce  is  to  Ireland.  With 
the  publication  of  "Ulysses,"  Ireland  has  made 
her  entry  into  the  great  community  of  Eur- 
opean letters. 

In  personal  manner  reserved  and  reticent, 
Joyce  impressed  me  on  first  view  as  being  what 
the  French  call  difficult.  On  the  occasion  of 
further  meetings,  however,  I  learned  that  he 
is  the  most  affable  of  men.  He  is  shy  of  curi- 
osity-mongers. Devoid  of  pose  or  affectation 
of  any  kind,  he  knows  his  own  worth,  which 
he  does  not  prize  too  highly ;  and  he  is  irri- 
tated by  those  who  show  a  deferential  attitude 
in  his  presence. 

Social  rencontres  and  tea  fights  he  religiously 
stays  away  from.  He  would  far  rather  spend 
his  time  battling  with  the  "devils  of  syntax 
and  epithet."  To  all  the  literary  or  social  elite 
he  prefers  for  company  a  club-footed  gargon, 
with  whom  I  have  sometimes  seen  him. 

He  is   always   thinking,   always   observing. 

"See  if  you  can  describe  that  woman's 
smile,"  he  said  to  me  one  day  over  a  cup  of 
Bordeaux  blanc  in  a  cafe,  where  was  seated 
an  old  woman,  whose  wrinkles  and  rouged 
nose  were  the  ensigns  of  decrepitude  and  in- 
temperance. Her  smile  over  a  jest  made  by 
the  gargon  was  an  accomplishment  which  did 
not  escape  the  prehensile  eye  of  Joyce. 

Joyce  knows  little  or  nothing  of  modern 
literary   currents. 

"It  embarrasses  me  dreadfully  when  people 
ask  me  if  I  have  read  so-and-so  just  out,"  he 
said.  "I  have  read  virtually  nothing  for  the  past 
seven  years."  Recently  he  ordered  a  copy  of  the 
"Arabian  Nights'  Entertainment." 

In  his  nature  there  is  a  decided  Greek  strain. 


His  extreme  individualism  is  Greek,  his  non- 
moral  attitude  toward  life  is  Greek,  and  the 
practice  of  his  art  in  its  purity  and  perfection 
is  Greek.  He  has  told  me  that  of  the  Greeks 
Aristotle  is  his  favorite,  being  the  most  mod- 
ern. "Read  Aristotle,"  he  said,  "then  apply 
his  reflections  to  the  common  daily  life  about 
you  here,  and  see  how  pat  they  are." 

There  is  too  much  hazy  metaphysics  in 
Plato.  Homer,  of  course,  he  has  read  from 
boyhood,  not  for  love  of  the  author — Joyce 
says  there  is  much  in  the  "Odyssey"  to  prove 
Butler's  contention  that  it  was  written  by  a 
woman — nor  for  love  of  Greek  poetry,  but 
primarily   for   his  love  of   the  hero. 

When,  as  a  schoolboy,  his  teacher  asked  the 
members  of  the  class  to  name  their  favorite 
hero,  and  such  names  as  Napoleon,  Jesus,  Saint 
Francis  of  Assisi  and  the  national  heroes  of 
Ireland  were  given  by  his  classmates,  Joyce 
replied,  "Ulysses."  The  psychogenesis  of  his 
great   parody   dates    from   this   period. 

Joyce  gives  me  the  impression  of  being  con- 
tinually deep  in  dreams.  Yet,  he  can  let  him- 
self go  at  any  time,  and  in  play  he  can  go  as 
far  as  who  goes  farthest  and  a  little  farther. 
He  is  a  Celt  of  the  Celts,  and  has  that  rare 
combination  of  seriousness  and  abandonment. 
He  is  a  rare  bon  vivant  and  loves  good  wine 
and  good  cheer.  Paris  is  Nirvana  to  his  moral 
nature,  for  here  he  can  do  as  he  likes  with- 
out interference  from  the  "unco  guid."  His 
same  disregard  for  literary  conventions  mani- 
fests itself  in  his  daily  life.  He  does  what 
the    spirit    listeth. 

He  is  always  a  gentleman  in  his  cups  or 
out.  Good  manners  are  a  religion  with  him. 
It  is  always  the  manner,  whether  in  art  or  in 
life. 

A  Staunch  Friend 

Joyce's  urbanity  never  descends  to  gregari- 
ousness.  He  has  but  few  friends.  Those  few, 
however,  are  staunch.  One  of  them  is  Adri- 
enne  Monnier,  poetess  and  presiding  genius  at 
the  Maison  des  Amis  des  Livres,  a  bookshop 
in  Paris,  where  the  foremost  of  the  present 
generation  of  French  litterateurs  do  congre- 
gate. She  has  just  written  for  private  circu- 
lation a  lyric  eulogy  of  Joyce,  wherein  she 
celebrates  the  allegiance  certain  women  have 
given  to  Joyce  and  his  art  during  the  course 
of  his   life's  work. 

There  is  only  one  thing  I  would  rather  do 
occasionally  than  to  get  deep  into  a  cup  of 
Asti :  and  that  is  to  get  deep  in  that  cup  in  the 
company  of  James  Joyce  and  to  listen  mean- 
while to  his  "wild  wisdom"  and  his  Irish 
mother  wit.  Of  the  tangled  threads  of  dis- 
course I  dont  remember  much  afterwards  ;  but 
I  have  a  residue  of  impression  that  seems, 
somehow,  to  take  the  edge  off  "life's  more 
bitter  flavors."  That  residue  is  a  sweet  cynic- 
ism which  confidentially  bids  defiance  to  the 
serious-minded  world  about  me,  and  enables 
me  to  lift  my  face  with  a  smile  on  my  lips  and 
the  tongue  in  my  check  to  the  Master-Dra- 
matist of  this  great  farce-comedy  we  call  life. 


J2  'Photographic 
<^hCasterp  ieces 

Alo  Studies  is  a  volume  of  32 
magnificent  photographic  crea- 
tions, portraying  the  beauty 
and  charm  of  youth  amid  the 
luxuriant  settings  of  Nature. 

The  Nude  in  zArt 

This  remarkable  work  is  a 
serious  endeavor  in  a  new  de- 
velopment of  art,  and  is  recog- 
nized by  the  leading  art  gal- 
leries and  academies  through- 
out the  world. 

From  Life 

The  original  way  in  which 
Albert  Arthur  Allen  has  han- 
dled life  and  nature  makes  Alo 
Studies  a  delightful  collection 
to  linger  over.  The  models 
are_  of  the  highest  type  of 
feminine  beauty — t  y  p  i  c  a  1  I  y 
American,  and  symmetrical  for 
the  age  in  which  we  live.  The 
natural  scenes  are  fully  in 
keeping. 

In  Phenomenal  Demand 

Alo  Studies,  Art  Edition  de 
Luxe^  comes  in  one  of  three 
beautiful  bindings.  It  is  a  val- 
uable addition  to  the  carefully 
selected  library.  It  has  met 
with  the  approval  of  artists 
and  art  lovers  everywhere. 

Order  your  Copy  at  once 

Orders  will  be  filled  in  the 
order  in  which  they  are  re- 
ceived. Select  the  binding  you 
desire,  and  send  for  your  copy 
today — before  the  edition  is 
exhausted! 

Leather-bound,  stamped  in  gold  $4.00 
Cloth-bound,  stamped  in  gold  •  2.00 
Art  pap  jr,  stamped  in  gold       •       1.00 


! 


:  ; 


Page  Seventy-Five 


Cup  Plates  of  Olden  Times  as  Collection  Objects 


(Continued  from  page  41) 


world's  theaters  just  at  the 
moment  when  we  Americans 
have  developed  our  finest 
theatrical  talent  in  that  direc- 
tion? 

ART 

The  Etchings  of  Edward 
Hopper.  Fine  examples  of 
the  work  of  a  rising  exponent 
of  this  popular  field  of  art- 
istic endeavor,  with  editorial 
comment  by  the  distinguished 
artist  and  critic  Guy  Pene  du 
Bois. 

DECORATION 

The   House  of  Fantasy.      In 

other  words,  the  home  of 
Robert  Winthrop  Chandler, 
the  man  who  prefers  to  decor- 
ate the  interiors  of  the  houses 
of  his  friends  to  being  a  social 
decoration  himself. 

TRAVEL 

Peterboro',  a  Town  of  Artistic 
Personality,  by  Edward  Hun- 
gerford.  The  author  of  "The 
Personality  of  American 
Cities"  gives  us  a  fascinating 
pen-picture  of  the  McDowell 
Colony  and  the  beautiful 
countryside  in  which  it  is  sit- 
uated. 

CARICATURE 

Wynn    Invades    Germany. 

Shadowland's  well-known 
contributor  sends  some 
sketches  from  the  banks  of  the 
Rhine  that  are  inimitable. 

SUADOWLANP 

for  OCTOBER 


The  pottery  forms  were  decorated  with 
printed  designs  similar  to  those  found  on  larger 
plates.  Thus  American  historical  subjects,  Eng- 
lish views,  Franklin's  maxims,  Dr.  Syntax,  Don 
Quixote,  the  Willow  pattern  and  a  long  train 
of  other  devices  were  used. 

Cup  plates  do  not  seem  to  have  been  included 
in  the  black  printed  ware  made  by  Saddler  & 
Green  at  Liverpool,  in  the  last  part  of  the 
eighteenth  century.  But  early  in  the  nineteenth 
century  dark  blue  printing  was  employed  on 
pottery  produced  in  large  quantities  at  Stafford- 
shire. Enoch  Wood  (1759-1840),  who  is 
thought  by  some  to  have  made  much  of  _  the 
unmarked  dark  blue  ware  bearing  American 
devices,  designed  the  well-known  "Landing  of 
the  Pilgrims,"  the  "Cadmus"  series,  the  "Bat- 
tery," and  others  with  a  border  of  seashells. 

A  Variety  of  Subjects  Furnished 
Inspiration 

Clews,  who  took  over  the  Cobridge  works 
from  Stevenson  in  1818,  made  the  "States" 
series,  "Landing  of  Lafayette,"  and  others  in 
blue,  beside  the  "Picturesque  Views"  of  places 
on  the  Hudson  River,  in  various  colors.  Don 
Quixote's  adventures  furnished  subjects  for  a 
dozen  or  more  designs  printed  by  Clews; 
while  the  three  Tours  of  Dr.  Syntax,  after 
designs  by  T.  Rowlandson,  published  from 
1809  to  1821,  are  also  by  Clews.  They  are 
among  the  most  sought  after  by  collectors.  To 
the  first  Tour  belongs  "Dr.  Syntax  and  the 
Dairy  Maid."  The  border  of  flowers  and 
scrolls  usually  found  on  the  larger  plates,  is 
often  reduced  materially  in  the  cup  plates  or  is 
again  omitted  entirely. 

The  "Beauties  of  America,"  by  J.  &  W. 
Ridgway,  had  a  border  of  rose-leaf  medallions, 
and  views  of  some  of  the  then  famous  buildings 
in  Boston,  New  York  and  oth;r  American 
cities.  These  date  from  1814  to  1830,  and  seem 
to  be  the  only  American  views  made  by  this 
firm.  Later  the  brothers  dissolved  partnership, 
and  various  colors  and  other  designs  were  used. 

Joseph  Stubbs  and  Thomas  Mayer,  of  Burs- 
lem,  likewise  made  cup  plates  in  dark  blue.  A 
view  of  Woodlands,  near  Philadelphia,  is  by 
the  former,  and  the  arms  of  South  Carolina, 
one  of  a  set  of  eleven,  is  by  the  latter. 

R  S  W  (Ralph,  Stephenson  &  Williams,  of 
Cobridge)  produced  some  of  the  best  dark  blue 
American  views,  with  oak-leaf  and  acorn  bor- 
der, and  those  of  the  Boston  State  House  by 
Rogers,  are  well  known.  But  many  of  the 
best  landscape  and  portrait  plates  bear  no  dis- 
tinguishing maker's  mark.  It  is  sometimes  pos- 
sible to  identify  them  by  the  borders  used, 
when  they  coincide  with  those  on  marked 
pieces,  but  the  center  designs  were  often  copied 
by  one  factory  from  another.  The  borders  only 
seem  to  have  been  the  exclusive  property  of 
the  original  designer. 

Cup  plates  were  much  in  favor  about  1840, 
and  included  local  souvenirs,  like  the  Bunker 
Hill  Monument,  the  heads  of  statesmen,  and 
some  were  adorned  with  the  political  emblems 
of  the  1840  campaign.  Among  others  subjects 
found  on  these  cup  plates  are  the  log  cabin, 
Fort  Meigs,  President  Harrison,  the  Benjamin 
Franklin  steamboat,  eagle  and  shield,  etc. 

A  Well-Known  Series 

One  of  the  best-known  cup  plate  series  is 
Hall's  "Hampshire  Scenery,"  with  borders  of 
various  flowers,  such  as  primroses,  hepatica, 
etc.,  resembling  many  of  the  Clews  borders. 
They  are  of  a  rich  blue  color.  The  "Quadru- 
peds Series"  is  another  favorite  for  collectors. 
Other  Staffordshire  potters  produced  cup 
plates  for  the  American  market.  In  such  cases 
it  was  of  course  wise  to  select  American  sub- 
jects.  A  series  that  makes  a  strong  appeal,  con- 


tains, among  other  things,  a  view  of  the  first 
United  States  Mint,  Philadelphia.  This  has  a 
characteristic  border  that  introduces  scrolls, 
eagles  and  flowers.  It  bears  the  name  of 
Joseph  Stubbs. 

The  lovely  dark  blue  Davenport  ware,  with 
designs  in  the  Chinese  style,  are  desirable,  and 
when  found  are  generally  exceedingly  inter- 
esting. There  is  a  constantly  growing  appre- 
ciation of  cup  plates  as  collecting  objects 
among  sophisticated  collectors.  The  majority 
of  the  glass  cup  plates  were  crystalline  glass, 
tho  some  were  colored  green,  brown,  blue, 
yellow,  amber,  rose,  purple  and  perhaps  other 
colors.  There  were  many  glass  factories  in  this 
country  in  Colonial  days,  as  well  as  later,  and 
these  supplied  American  housekeepers  with 
cup  plates,  as  well  as  other  glass  objects. 
Many  of  the  cup  plates  of  this  period  were 
not  remarkable  for  their  beauty  of  design. 

Certain  cup  plates  bore  mottoes  and  verses. 
Those  made  in  Liverpool  were  among  these.  A 
Romance  Series,  originating  in  this  city,  con- 
tained some  lines  known  as  "Returning  Hopes," 
as  follows : 

When   seamen  to  their  homes  return, 

And  meet  their  wives  or  sweethearts  dear, 

Each  loving  lass  with  rapture  burns, 
To  find  her  long-lost  lover  near. 

The  Willow  Pattern  Legend 

The  Willow  pattern,  used  on  cup  plates  as 
well  as  on  the  larger  plates,  has  an  interesting 
legend. 

A  versified  version  is  as  follows : 

Two  pigeons  flying  high, 
Chinese   vessel    sailing   by, 
Weeping   Willow   hanging   o'er, 
Bridge  with  three  meu — if  not  four — 
Chinese   temple,   there   it   stands, 
Seems  to  cover  all   the  land ; 
Apple   tree  with  apples  on, 
A  pretty  fence  to  end  my  song. 

A  prose  version  of  this  legend  follows : 

A  Chinese  mandarin  had  an  only  daughter, 
named  Li  Chi,  who  fell  in  love  with  Chang,  a 
young  man  who  lived  in  the  island  home  repre- 
sented at  the  top  of  the  pattern,  and  who  had 
been  her  father's  secretary. 

One  day  the  father  overheard  them  making 
vows  of  love  under  the  orange  tree,  and  he 
sternly  forbade  the  unequal  match ;  but  the 
lovers  contrived  to  elope,  lay  concealed  for  a 
while  in  the  gardener's  cottage,  and  thence 
made  their  escape  in  a  boat  to  the  island  home 
of  the  young  lover.  The  enraged  mandarin  pur- 
sued them  with  a  whip,  and  would  have  beaten 
them  to  death  had  not  the  gods  rewarded  their 
fidelity  by  changing  them  into  turtle  doves,  as- 
shown  in  the  picture. 

The  design  is  called  the  Willow  pattern,  not 
only  because  it  is  a  tale  of  disastrous  love,  but 
because  the  elopement  occurred  "when  the  wil- 
low begins  to  shed  her  leaves."  The  whole 
story  is  set  forth  in  the  pattern.  To  the  right 
is  the  mandarin's  country  scat.  It  is  two  stories 
high,  to  show  the  rank  and  wealth  of  the  pos- 
sessor ;  in  the  foreground  is  a  pavilion,  in  the 
background  an  orange  tree,  and  to  the  right 
of  the  pavilion  a  peach  tree,  in  full  bearing. 
The  estate  is  enclosed  by  an  elegant  wooden 
fence.  At  one  end  of  the  bridge  is  the  famous 
willow  tree,  and  at  the  other  is  the  gardener's 
cottage,  one  story  high,  and  so  humble  that  the 
grounds  are  wholly  uncultivated,  the  only  green 
thing  being  a  small  fir  at  the  back.  At  the  top 
of  the  pattern  (left-hand  side)  is  an  island 
with  a  cottage;  the  grounds  are  highly  culti- 
vated, and  much  has  been  reclaimed  from  the 
water.  The  two  birds  of  the  picture  are  turtle 
doves.  The  three  figures  on  the  bridge  are 
the  mandarin's  daughter,  with  a  distaff ;  nearest 
the  cottage,  the  lover  with  a  box,  and  nearest 
the  willow  tree,  the  mandarin  with  the  whip. 


Page  Seventy-Six 


SuiADQWLAND 


Grand  Opera  Sub  Corv 
sule  Giulio 

(Continued  from  page  26) 

fraulein  out  for  a  spree  than  a  distinguished 
Roman  actress  meeting  her  lover.  Her  Sieg- 
linde  is  good,  but  her  Elsa  is  only  "cosi-cosi," 
as  the  Italians  say.  The  best  singing  and  act- 
ing she  achieved  was  in  the  unequal  and  rem- 
iniscent  "Die  Tote   Stadt." 

I  repeat,  Jeritza's  claims  to  supersede  Farrar 
are  far  from  obvious.  Singularly  enough,  the 
latter  never  sang  better  than  she  did  last  sea- 
son, her  acting  was  more  finished,  and  in 
"Zaza"  she  toned  down  flamboyancies  and  ex- 
uberances which  were  offensive  even  to  her 
admirers.  The  farewell  demonstrations  in  her 
honor  should  have  convinced  Gatti-Casazza 
that  he  had  erred  in  virtually  forcing  her  out 
of  the  Metropolitan,  and  I  believe  the  fact 
will  be  even  more  obvious  next  season.  Jeritza 
is,  indeed,  a  poor  substitute  for  Geraldine,  and 
I  venture  to  prophesy  that  the  rage  for  the 
former,  so  artfully  fostered  by  a  noisy  claque 
and  Teuton  propagandists,  will  be  short  lived. 

Gatti-Casazza  is  known  to  be  endeavoring  to 
do  away  with  the  "star"  system.  But  there 
will  always  be  great  popular  figures  in  opera. 
It  is  easy  enough  to  decry  the  "star"  system 
when  there  are  no  Pattis  and  Carusos  around. 
But  whenever  a  singing  actor  of  commanding 
powers  comes  to  the  front  it  is  inevitable,  and 
the  public  will  continue  to  demand  its  favor- 
ites. It  may  be  wise  of  Gatti  to  endeavor  to 
cut  the  salaries  of  leading  artists  when  they 
are  excessive.  Operatic  artists,  like  the  favor- 
ites of  the  screen,  are  worth  what  they  bring 
as  managerial   investments,  and  no  more. 

The  autocrat  of  the  Metropolitan,  now  that 
there  is  to  be  no  opposition  from  the  Chicago 
Company,  is  in  a  position,  more  or  less,  to 
offer  his  own  terms,  and  to  say  to  an  artist 
"take  or  leave  it."  Consequently  he  has  made 
some  severe  salary  cuts,  and  has  also  reduced 
the  number  of  guaranteed  appearances,  and 
in  consequence  there  is  much  dissatisfaction  in 
the  front  ranks  of  the  opera  corps.  This  has 
not  been  diminished  by  the  impresario's  an- 
nouncement that  he  is  taking  on  a  number  of 
singers,  principally  Germans,  with  a  view  to 
increasing  the  Wagnerian  repertory,  as  well 
as  producing  a  new  opera  in  German  and  re- 
viving   Strauss's    "Rosenkavalier." 

Additional  resentment  has  been  caused  by 
the  reduction  of  the  already  unduly  scanty 
French  repertory,  and  that  resentment  has 
been  increased  by  the  almost  forced  retire- 
ment of  an  admirable  French  artist,  Madame 
Berat,  who  rather  than  sing  in  German,  as 
requested  by  Gatti,  withdrew  from  the  com- 
pany. Berat's  performance  of  the  old  mother 
in  "Louise"  was  one  of  the  most  beautiful 
things  ever  done  on  the  boards  of  the  Metro- 
politan. She  will  be  a  great  loss  to  the  com- 
pany, and  the  cause  of  her  retirement  is  an 
offense  to  good-taste. 

But  if  Gatti-Casazza  has  not  been  quite  fair 
to  either  American  or  French  artists,  while 
he  has  been  more  generous  in  his  favors  to 
Italian  and  German  singers,  it  remains  to  his 
credit  that  he  has  made  the  Metropolitan  the 
first  opera  house  in  the  world.  Nowhere  else, 
unaided  by  state  or  municipality,  is  there  a 
house  which  gives  a  full  and  unbroken  half 
year  of  grand  opera,  interpreted  by  great  sing- 
ers, with  a  magnificent  orchestra,  a  chorus  of 
the  first  class  and  a  mise  en  scene,  with  a  few 
exceptions,   of   high  artistic  excellence. 

No  one  knows  exactly  what  the  profits  or 
losses  of  the  Metropolitan  Opera  Company 
have  been,  except  the  committee  and  the  im- 
presario. But  it  is  known  that  the  latter  some 
time  since  managed  to  balance  accounts,  and 
for  the  past  two  or  three  seasons  there  has 
been  something  on  the  right  side  of  the 
operatic  ledger.  For  having  achieved  the  ap- 
parently impossible,  Gatti-Casazza  deserves 
much  credit.  But  he  must  not  let  his  success 
run  away  with  him,  or  cause  him  to  require 
an  enlarged  size  in  head-covering.  Especially 
should  he  remember  that  he  is  running  an 
American  opera  house.  He  might  realize  this 
better  if  he  began  by  learning  the  language 
of    the    country    which    pays    him    so    liberally. 


IfGUiiyGUSfiiiJii^ 


It  Says  So  In 


T 


HAT'S  what  you  hear  on  every  side  today,  where 
matters  in  any  way  bearing  on  beauty  are  discussed 
and  it  always  clinches  the  argument. 

^eerutx^  aims  to  be  authoritative.  On  every  subject 
there  is  an  acknowledged  expert,  and  if  you  look  thru 
our  pages  you  will  find  that  we  have  articles  by  those 
experts,  written  in  the  most  fascinating  manner,  and 
wherever  possible  illustrated  by  the  best  artists  or  the 
most  recent  photographs. 

/QGerutv^  aims  to  be  the  woman's  magazine  par  excel- 
lence. It  presents  all  the  latest  and  most  reliable  in- 
formation from  the  realms  of  society,  fashion  and  the 
stage — but  its  scope  is  not  confined  to  these.  It  appeals 
equally  to  every  woman,  no  matter  what  her  age  or  occu- 
pation— for  what  woman  lives  to  whom  beauty  is  not  a 
subject  of  paramount  importance? 

In  addition  to  these  articles,  there  are  hosts  of  fascinat- 
ing features.  There  is  the  great  American  Beauty  Con- 
test, for  instance — the  nation-wide  search  for  America's 
loveliest  girl.  There  are  short  stories,  serials,  a  monthly 
selection  of  the  best  beauty  "secrets,"  contributed  by  our 
readers,  for  each  of  which  a  dollar  is  paid — and,  as  the 
auctioneers'  catalogs  say,  other  things  too  numerous  to 
mention. 

October  ^^^y  will  contain  a  beautifully  illustrated 
article  on  Music  as  an  Aid  to  Beauty  by  E.  Jerome  Hart ; 
an  interview  with  the  great  Nazimova  on  that  subject 
dear  to  every  woman's  heart — charm ;  a  cleverly  written 
article  on  that  interesting  theme  "The  Modern  Girl"  by 
Laura  -Kent  Mason.  Barbara  Burke  continues  her 
helpful  talks  on  Scientific  Grooming;  and  we  are  begin- 
ning a  new  series  of  articles  on  The  Rejuvenation  of  the 
Middle-aged  Woman  by  Mrs.  E.  Russell  Jones. 

/j^Geuitv^  is  written,  designed  and  printed  for  YOU,  and 
when  you  have  once  read  it,  you  will  no  sooner  think  of 
going  without  your  copy  on  the  sixth  of  every  month 
than  you  would  think  of  passing  a  mirror  without  glanc- 
ing at  yourself  in  it. 

For  ^G<a^t  is  the  Mirror  of  Beauty. 

Page  Seventy-Seven 


SWADOWLAND 


The  New  Corliss  Palmer 
Preparations 

The  Best  in  Cosmetics  is 
None  Too  Good 

Infinite  pains  have  been  taken  by  Miss 
Palmer  to  perfect  these  preparations  as 
to  ingredients,  which  are  of  the  best. 
Miss  Palmer  personally  supervises  the 
making  of  all  her  preparations  and  never 
allows  any  article  to  leave  the  laboratory 
without  a  long  trial  of  it  by  herself. 
She  is  a  severe  critic  on  the  art  of  make- 
up and  insists  that  by  clever  use  of  her 
preparations  a  person  shall  not  appear 
"made-up,"  but  bring  out  the  beauty  and 
hide   the   blemishes. 

We  Guarantee  our 
Preparations  to  Be  Harmless 

We  enclose  directions  written  person- 
ally by  Miss  Palmer.  You  cannot  go 
wrong  if   her   words   are   heeded. 

A  Special  Word  Must  Be  Said 

of  Our  Creams — They  Are 
Exquisite  and  Without  Equal 

CORLISS  PALMER  FACE 
POWDER     $1.00 

CORLISS  PALMER  FOUNDA- 
TION CREAM— A  heavy,  flesh- 
color  cream  that  will  hide  all 
blemishes  and  make  the  powder 
stick  on  as  will  nothing  else.  To 
cover  a  pimple,  or  a  red  nose,  or 
the  whole  face  for  an  all-day 
make-up,  there  is  nothing  like  it. .      .50 

CORLISS  PALMER  FACE 
ROUGE     50 

CORLISS  PALMER  LIP  ROUGE     .50 

THE  FOUR,  attractively  boxed  in 
set    2.50 

CORLISS  PALMER  VANISHING 
CREAM — A  light,  dry  cream  o£ 
purity,  to  be  used  in  the  morning, 
or  at  any  time,  to  freshen  the  skin 
and  make  a  foundation  for  the 
face  powder    75 

CORLISS  PALMER  CLEANS- 
ING OR  NIGHT  CREAM  — A 
heavier  cream,  to  cleanse  the  face 
at  night  and  to  soften  and  beautify 
the  skin    75 

CORLISS  PALMER  LEMON 
CREAM — An  exquisite  cream  of 
even  texture,  purity  and  loveli- 
ness. For  general  use  on  the  face 
and  body   75 

THE  THREE,  attractively  boxed 
in   set    2.25 

CORLISS  PALMER  BEAUTI- 
FIER — A  lotion  of  the  finest 
quality,  for  those  who  do  not  care 
for  creams  as  a  cleanser.  An 
absolute  corrector  of  an  oily  com- 
plexion, a  bleacher,  an  astringent, 
healer  of  blemishes,  and  a  very 
great  enemy  of  wrinkles 60 

Impressions  Are  Lasting 

Look   Your  Best  at  All  Times 

We  will  mail,  postpaid,  any  of  the 
above  preparations  on  receipt  of  price  in 
stamps,  cash,  or  money  order.  (In  mail- 
ing coins,  wrap  them  carefully  to  prevent 
them  cutting  a  hole  in  your  envelope.) 

RICHARD  WALLACE 
BROOKLYN,  N.  Y. 


The  Camera  Contest 

'SHADOWLAND"  Searches  for  Art  Thru  a  Lens— and  Finds  It 


AS  befits  a  magazine  expressing  the  arts, 
/-\  Shadowland  is  universally  noted  for 
the  exquisite  photography  which  is  al- 
ways a  feature  of  its  pages.  No  less  beautiful 
than  the  work  of  the  professional  photog- 
raphers is  that  of  the  amateur  revealed  every 
month  by  Shadowland  in  its  Camera  Contest, 
a  nation-wide  search  for  artistic  effort  that  is 
proving  as  stimulating  as  its  results  are  suc- 
cessful. 

In  co-operation  with  the  Pictorial  Photog- 
raphers of  America  Shadowland  conducts  this 
contest  in  the  fairest  and  most  far-reaching 
manner,  and  we  feel  confident  our  readers  will 
indorse  the  selections  this  month  from  the 
beautiful  reproductions  of  the  prize-winning 
efforts  to  be  found  on  pages  58,  59,  60.  They 
were  selected  this  month  by  the  following 
Judges  :  Mr.  E.  V.  Brewster,  Mr.  John  Wal- 
lace Gillies,  and  Mr.  William  A.  Alcock.  A 
list  of  the  prize  winners  follows : 

First  Prise. — "In  York  County."  William 
Elbert  Macnaughtan,  293  Cumberland  Street, 
Brooklyn. 

Second  Prise. — "Monk,  Amalfi,  Italy."  Myers 
R.  Jones,  274  Henry  Street,  Brooklyn. 

Third  Prise. — "The  Coolie."  Arthur  D.  Chap- 
man, 614  Lake  Street,  West  Hoboken,  N.  J. 

Honorable  Mention. — "The  Boat  House," 
Dr.  F.  Detlefsen,  1846  Eddy  Street,  Chicago, 
111.  "The  Tender  Buds  of  Spring,"  Josephine 
M.  Wallace,  756  16th  Street,  Des  Moines, 
Iowa.  "Still  Life,"  William  Jordan,  Jr.,  126 
Atlantic  Ave.,  Atlantic   City,   N.   J. 

Monthly  prizes  of  at  least  $25,  $15,  and  $10 
are  awarded  in  order  of  merit,  together 
with  three  prizes  of  yearly  subscriptions  to 
Shadowland  to  go  to  three  honorary  mentions. 
All  prize  winning  pictures  will  probably  be 
published  in  Shadowland. 

The  committee  of  judges  includes: 

Joseph  R.  Mason,  chairman  of  committee, 
Corresponding  Secretary  P.  P.  A. ;  Eugene  V. 
Brewster,  Editor  and  Publisher  of  Shadow- 
land;  Louis  F.  Bucher,  Secretary  Associated 
Camera  Clubs  of  America;  Dr.  A.  D.  Chaffee, 
President  of  P.  P.  A. ;  Arthur  D.  Chapman, 
Advisory  Committee  P.  P.  A. ;  G.  W.  Harting, 
Advisory  Committee  P.  P.  A. ;  Dr.  Chas.  H. 
Jaeger,  contributing  member  Pittsburgh  and  Los 
Angeles  Salons ;  Miss  Sophie  L.  Lauffer,  Secre- 
tary Dept.  of  Photography,  Brooklyn  Institute 
of  Arts  and  Science ;  George  P.  Lester,  Member 
P.  P.  A.  and  Orange  Camera  Club ;   Nickolas 


Muray,  portrait  photographer ;  John  A.  Ten- 
nant,  Editor  and  Publisher  of  Photo  Miniature; 
Miss  Margaret  Watkins,  ex-Recording  Secre- 
tary P.  P.  A. ;  Clarence  H.  White,  ex-President 
P.   P.   A. 

The  jury  of  selection,  to  be  announced  each 
month  with  their  selections,  consists  of  three 
members,  to  be  chosen  from  the  committee  or 
the  membership  of  the  society.  No  member  of 
the  jury  thus  chosen  for  any  given  month  shall 
submit  pictures   for  that  month's   contest. 

Shadowland  desires  that  every  camera  enthu- 
siast reap  benefit  from  this  contest  and  to  this 
end  makes  the  inclusion  of  the  following  data 
re  contesting  prints  imperative : 

(a)  Date  and  hour  of  exposure. 

(b)  Stop  number  used. 

(c)  Printing  medium  used. 

(d)  Character  of  print — whether  straight  or 
manipulated. 

Any  print  previously  published  is  not  eligible. 

No  printing  medium  is  debarred,  but  capability 
of  good  reproduction  will  be  a  factor  in  the 
selection  of  prints. 

Contestants  may  submit  prints  up  to  any  num- 
ber and  to  as  many  of  the  monthly  contests  as 
they  desire. 

Prints  received  on  or  prior  to  the  first 
of  each  month  to  be  considered  entered  in  that 
month's  contest. 

Name  and  address  of  maker,  title  and  number 
must  be  printed  or  plainly  written  upon  the  back 
of  each  print.  Return  address  to  be  written 
plainly  upon  package. 

Prints  must  be  packed  flat.  A  small  mount 
makes  for  safety  in  handling  but  is  not  required. 

Prints  will  be  acknowledged  upon  their  receipt. 

Rejected  prints  will  be  returned  immediately, 
provided  proper  postage  for  the  purpose  be  in- 
cluded. It  is,  however,  understood  that  Shadow- 
land  reserves  the  right  to  reproduce  any  print 
submitted  and  to  hold  such  for  a  reasonable  time 
for  that  purpose. 

Special  care  will  be  taken  of  all  prints  sub- 
mitted, but  neither  The  Brewster  Publications 
nor  the  Pictorial  Photographers  of  America  as- 
sume responsibility   for  loss  or  damage. 

All  prints  and  all  communications  relative  to 
the  contest  are  to  be  sent  to  Joseph  R.  Mason, 
Art  Center,  65  East  S6th  Street,  New  York  City. 

No  prints  will  be  considered  if  sent  elsewhere 
than  stated  above. 

Submission  of  prints  will  imply  acceptance  of 
all  conditions. 


II IIMII  millllll  MINIMI  III IIIMIIIIMIIIIIIIIIIIIIIIIII 


New  York  Theater  Audience 


{Continued  from  page  49) 


The  Theatre  Guild  established  itself  as  a 
daring  and  successful  producing  organization 
by  the  presentation  of  Ervine's  "John  Fergu- 
son," a  grim  study  of  primitive  emotions  and 
religious  feeling,  following  this  with  the  same 
author's  "Jane  Clegg."  Practically  all  of  its 
productions  have  been  of  foreign  plays,  the 
few  exceptions  in  favor  of  American  authors 
being  plays  of  tense  realism.  Thus  it  has  aided 
materially  in  building  up  the  Continental  view- 
point. Galsworthy's  "Justice"  was  a  big  success 
in  New  York.  It  failed  on  tour.  O'Neill's 
"Beyond  the  Horizon,"  a  vivid  picture  of 
misdirected  lives,  enjoyed  an  extensive  popu- 
larity here.  It  likewise  failed  to  interest 
the  enormous  playgoing  public  outside  of 
New  York. 

Seventeen  plays  from  the  French  have  been 
acted  here  this  season.  England,  Russia  and 
Hungary  are  well  represented.  Scandinavia  of- 
fers Ibsen's  "Ghosts"  and  Berger's  "The 
Deluge."  Is  it  any  wonder  that  the  New  York 
audience   is   becoming   Europeanized  ? 

It  is  scarcely  to  be  denied  that  if  America  is 
to  build  a  school  of  drama  that  will  be  as  vital 
as  it  is  brilliant,  it  should  cultivate  the  romance- 
with-a-touch-of-realism  of  such  plays  as  "The 
First  Year,"  rather  than  copy  the  style  and 
methods  of  the  European  realists.  George  Ade 
was  promising  to  be  the  principal  factor  in  the 
development  of  such  a  school  when  he  stopped 


short.  George  S.  Kaufman  and  Marc  Connelly, 
in  following  the  early  footsteps  of  Ade,  appear 
to  be  headed  in  the  right  direction,  along  with 
Craven  and  Clare  Kummer  and  Rachel  Croth- 
ers,  once  she  ceases  preaching,  and  Zoe  Akins 
and  O'Neill,  once  they  pay  less  attention  to  the 
gloomy,  morbidity  of  the  Europeans. 

After  all,  American  civilization  is  markedly 
different  from  European.  The  latter  comprises 
racial  characteristics  that  have  been  in  force  for 
centuries.  We  have  a  new  civilization  and  we 
should  express  it  in  our  own  way.  We  should 
not  have  to  apply  European  standards  of  philo- 
sophy to  American  life.  American  life  calls 
for  American  treatment.  Let  the  treatment 
express  the  gusto,  the  sense  of  satire,  the 
penetrating  vigor  and  wholesomeness  and  genu- 
ineness of  our  people  and  we  will  produce  a 
literature  that  will  compare  with  that  of  any 
race. 

The  European  play  is  more  and  more  wel- 
come in  New  York.  It  may  yet  find  a  hearty 
reception  in  other  parts  of  America.  It  has 
been  of  inestimable  value  in  developing  taste 
and  discrimination  in  theatergoers,  but  among 
our  playwrights  it  should  not  be  held  too  firmly 
as  a  model.  If  we  copy  the  methods  and  view- 
point of  the  Europeans  in  our  dramas,  we  shall 
be  only  imitations  of  Europeans ;  we  shall  be 
continentalized  not  only  in  our  outlook,  but  in 
the  manner  of  expressing  that  outlook. 


Page  Seventy-Eight 


EDWARD    LANGEIt   PRINTING    CO..  INO., 
JAMAICA,      NEW     YOEK     OITT. 


Corliss  Palmer  Powder 


CORLISS  PALMER 


is  the  result  of  scientific 
research  and  experiment. 
Miss  Palmer,  by  winning 
first  prize  in  the  1920  Fame 
and  Fortune  Contest,  was 
adjudged  the  Most  Beauti- 
ful girl  in  America,  and 
her  Beauty  articles  in  the 
Motion  Picture  Maga- 
zine and  Beauty  Maga- 
zine have  attracted  wide 
attention. 

We  have  secured  the  ex- 
clusive American  rights  to 
Miss  Palmer's  Powder. 
We  put  it  up  in  pretty 
boxes,  which  will  be  mail- 
ed to  any  address,  postage 
[  prepaid,  on  receipt  of 
price,  $1.00  a  box.  It 
comes  in  only  one  shade 
and  is  equally  desirable  for 
blondes  and  brunettes. 


Do  not  think  of  sitting  for  a  portrait  without  first  using  this  powder! 

And  it  is  equally  desirable  for  street  use,  in  the  Movies  and 
everywhere.  Send  a  One  Dollar  bill  or  1-cent  or  2-cent  stamps 
and  we  will  mail  you  a  box  of  this  exquisite  powder.  Remem- 
ber that  we  have  the  exclusive  selling  rights  to 

Corliss  Palmer  powder 

Beware  of  imitations  and  accept  no  substitutes  warranted  to  be 
"just  as  good."    There  is  nothing  else  like  it  on  the  market. 

WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 


Extracts  from  Motion 
Picture  Magazine 


I  am  often  asked  what  kind  of  face 
powder  I  use.  I  have  received  more 
letters  asking  this  question  than  I  could 
answer,  so  I  had  a  little  circular 
printed  stating  that  I  make  my  own 
powder.  And  now  they  are  asking  me 
to  tell  them  how  I  make  it.  Well,  I 
cant  tell  how,  but  I  can  tell  why.  I 
have  tried  about  every  powder  on  the 
market  and  have  done  considerable  ex- 
perimenting' on  myself  and  on  others. 
There  is  no  denying  that  there  are 
several  very  fine  powders  on  the  mar- 
ket, but  I  felt  that  none  just  suited 
me,  and  so  I  determined  to  make  one 
that  did.  You  see,  in  the  first  place, 
I  had  some  very  peculiar  ideas  about 
the  complexion  and  was  very  hard  to 
please.  I  am  very  particular  about 
tints  and  staying  qualities,  and  I  want 
a  powder  that  does  not  look  like  pow- 
der, that  will  not  blow  off  in  the  first 
gust  of  wind,  that  is  not  too  heavy  nor 
too  light,  that  will  not  injure  the  com- 
plexion, and  that  will  not  change  color 
when  it  becomes  moist  from  perspira- 
tion or  from  the  natural  oil  that  comes' 
thru  the  pores  of  the  skin.  I  also  like 
a  pleasant  aroma  to  my  powder,  and 
one  that  lingers.  After  experimenting 
with  powdered  starch,  French  chalk, 
magnesia  carbonate,  powdered  orris 
root,  bismuth  subcarbonate,  precipitated 
chalk,  zinc  oxide,  and  other  chemicals, 
and  after  consulting  authorities  as  to 
the  effects  of  each  of  these  on  the  skin, 
I  finally  settled  on  a  formula  that  has 
been  tried  out  under  all  conditions  and 
that  suits  me  to  a  nicety.  And,  most 
important  of  all,  perhaps,  this  powder 
when  finally  perfected  had  the  remark- 
able quality  of  being  equally  good  for 
the  street,  for  evening  dress  and  for 
motion  picture  make-up.  I  use  the 
same  powder  before  the  camera  for 
exteriors  and  interiors,  and  for  daily 
use  in  real  life.  So  do  many  of  my 
friends,  and  they  all  tell  me  that  they 
will  use  no  other  so  long  as  they  can 
get  mine.  As  to  the  tint,  it  is  a  mix- 
ture of  many  colors.  I  learned  'from 
an  artist  years  ago  that  there  are  no 
solid  flat  colors  in  nature.  Look  care- 
fully at  anything  you  choose  and  you 
will  see  every  color  of  the  rainbow  in 
it.  Take  a  square  inch  of  sky,  for  in- 
stance, and  examine  it  closely  and  you 
will  find  every  color  there.  Just  so 
with  the  face.  Any  portrait  painter 
will  tell  you  that  he  uses  nearly  every 
color  when  painting  flesh.  Nothing  is 
white — not  even  snow,  because  it  re- 
flects every  color  that  is  around  it. 
White  face  powder  is  absurd.  White 
is  not  a  color.  The  general  tone  of  my 
powder  is  something  like  that  of  a  ripe 
peach.  I  have  made  up  a  few  boxes  of 
it  for  my  friends,  and  I  feel  justified 
in  asking  them  to  pay  me  what'  it  costs 
me,  which  is  about  One  Dollar  a  box. 
I  am  not  in  business  and  do  not  want 
to  make  a  profit.  If  any  of  my  readers 
want  to  try  this  powder,  I  wilD  try 
to  accommodate  them,  but  I  cannot 
undertake  to  put  this  powder  on  the 
market  in  a  business  way — that  is 
something  for  a  regular  dealer  to  do 
if   there   is   enough   demand    for   it. 


Cut  out  and  mail  today 


.. „ J—^— ^^^^^CTS 

WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 

For    the    enclosed    One    Dollar    please    send    me    a    box    of 
CORLISS  PALMER  POWDER. 

Name    

Street    

City    and    State 

T T1 


Moments  Which  Count 


When  you  are  conscious  of  the  scru- 
tiny of  interested  eyes  which  appraise 
everydetail  of  your  appearance,  can  you 
sit  serene, secure  in  the  consciousness 
that  there  is  nothing  to  criticise  but  every- 
thing to  admire  ? 

Happy  is  the  girl  who  can  answer 

yes"  in  these  all  important  moments. 

She  is  the  girl  whoknows  that  her  fresh, 

clear  skin  and  smooth,  white  neck  and 

arms  are  sure  to  command  admiration. 

The  girl  who  is  not  so  sure  of  her 
personal  attractiveness,  who  is  conscious 
that  complexion  defects  may  affect  her 
popularity,  should  waste  no  time  rem- 
edying these  conditions.  The  secret  is 
cosmetic  cleanliness,  which  keeps  the 
skin  free  from  clogging  accumulations. 

Once  a  day,  do  this 

Once  a  day,  preferably  at  bed-time, 
-V  give  your  face  a  thorough 

cleansing.  This  doesn't 
mean  a  harsh,  irritating 
scrub,  but  a  cos- 
metic cleansing 
accomplished 
by  the  gentlest 
possible  means. 


Soap  is  necessary,  butonlythe  mildest 
soap  should  be  used.  This  is  Palmolive, 
blended  from  palm  and  olive  oils. 

Onceyou  experience  the  mild,  sooth- 
ing effect  of  its  smooth,  creamy  lather 
you  will  recognize  daily  cleansing  as  the 
surest  complexion  beautifier. 

Removal,  once  a  day,  of  the  accumu- 
lations of  dirt,  oil,  perspiration  and  the 
remaining  traces  of  cold  cream  and 
powder  is  absolutely  essential  to  a  clear, 
fresh  skin. 

Neglect  results  in  clogged  pores, 
coarse  texture  and  blackheads.  When 
the  accumulated  soil  carries  infection, 
pimples  are  the  result. 

An  ancient  secret 

The  value  of  beautifying  cleansing 
was  discovered  long  ago,  in  the  days  of 
ancient  Egypt.  It  was  Cleopatra's  secret 
—  whatever  the  embellishments  she 
employed,  they  were  applied  after  the 
daily  bath  with  palm  and  olive  oils  as 
cleansers. 

The  great  queen  was  famous  for  her 
beauty  long  after  early  youth  was  passed . 
She  kept  her  looks  with  the  aid  of  the 


same  gentle1,  stimulating  cleansing  which 
we  recommend  today. 

Blended  from  the  same  oils 

Palmolive  is  blended  from  the  same 
costly  oriental  oils  which  served  Cleo- 
patra as  cleanser  and  beautifier.  We 
import  them  from  overseas  in  vast  quan- 
tity to  keep  the  Palmolive  factories  at 
work  day  and  night.  This  is  necessary 
to  supply  the  world-wide  demand. 

This  popularity  has  reduced  price, 
as  manufacturing  volume  permits  econ- 
omies which  lower  production  costs. 
Thus  we  are  able  to  supply  Palmolive 
for  only  10  cents  a  cake. 

Sowhile  Palmolive  ranks  first  as  finest 
facial  soap,  you  can  afford  to  follow  Cleo- 
patra's example  and  use  it  for  bathing. 

Complexion  beauty  does  not  end 
with  the  face.  Beautify  your  body  with 
Palmolive. 

Volume  and  efficiency  produce 
25-cent  quality  for 


10c 


THE  PALMOLIVE  COMPANY,   MILWAUKEE,   U.  S.  A. 

THE  PALMOLIVE  COMPANY  OF  CANAOA.  Limited.  TORONTO,  CANADA 
Also  makers  of  Palmolive  Shampoo  and  Palmolive  Shaving  Cream 


wmjtmmvm 


J  5  »«»»*««««  *«■«■■*»»*»»»« 


Copyright  1922-The  Palmolive  Co.     1561 


Bretl  Lilho.  Co..   N.  Y. 


.■,*#)«»»"■••' 


OCTOBER 


350 


EXPRESSING  THE  ARTS 


A   BREWSTER    PUBLICATION 


A  Magazine  of  Beauty  Secrets  for  Every  Woman 


A  MAGAZINE  to  help  every  woman  to  be  more  beautiful  than  she  is  and  then  help  her 
to  preserve  that  beauty.  Every  woman  wants  beauty:  a  strong,  healthy  body;  grace; 
charm;  a  spirited,  active  mind.  She  knows  that  some  are  born  beauties — others  have 
it  thrust  upon  them.  What  she  does  not  know  is  that  all  may  attain  it  if  they  will.  A 
few  years  ago,  those  who  used  cosmetics  in  any  form  were  called  "painted  ladies." 
Those  who  went  systematically  thru  forms  of  exercise  to  improve  their  figures  were  "vain." 
Now,  the  use  of  cosmetics  is  universal.  Physical  culture  is  a  habit.  Every  woman  knows  that 
she  must  look  her  best.  She  not  only  tries  to  assist  nature,  but  to  improve  it.  This  is  where  the 
new  magazine  /|H©erutv»  comes  in. 


Elsie  Ferguson 
Pauline  Frederick 


LILLIAN  MONTANYE, 

Editor 
Editorial  Advisory   Board 
Corliss  Palmer 
Alla  Nazimova 


Katherine  MacDonald 
Jeanette  Pinaud 


*ft©<a\At 


i* 


magazine  is  the  modern 


Pandora  s  Box 


We  have  gathered  about  us  some  of.  the  world's  greatest  authorities,  and  are  supplying  our  read- 
ers with  the  best  and  most  authoritative  information  on  all  subjects  that  pertain  to  personal 
beauty.  Famous  beauties  of  stage  and  screen,  society  beauties,  beauty  parlor  experts,  celebrated 
dermatologists,  many  well-known  notables  are  contributing   to   its   pages.      A   special   feature  is 

The  Beauty  Box 

conducted  by  Corliss  Palmer  who,  as  winner  of  the  1920  Fame  and  Fortune  Contest,  was  ad- 
judged the  most  beautiful  girl  in  America.  This  is  an  Answer  Man  department  in  which  Miss 
Palmer  answers  all  questions  on  the  proper  use  of  cosmetics  and  on  everything  pertaining  to 
beautifying  the  human  face  and  form  divine.     She  also  makes  a  special  plea  for 

Physical  Beauty 

the  importance  of  the  care  of  the  body  itself ;  the  significance  of  health ;  the  wholesome  charm 
of  a  strong,  well-poised  body.  Each  issue  contains  a  hundred  aids  to  grace  and  beauty — in- 
numerable little  "nothings"  that  count  greatly  in  the  end.  4*Wd\it\»<  's  ^e  Open  Sesame  to 
love,  joy,  life  and  all  the  dear  emotions  that  so  many  have  td    \J  tf^  pass  by  because   they 

have  not  discovered  the  sweet  secret  of  pleasing.  4*tad\itv  ls — 'n  itse^ — 

A  Thing  of  Beauty 

a  second  SHADOWLAND  in  its  artistry.  It  contains  reproductions  of  famous  paintings  in 
all  their  original  colors,  suitable  for  framing;  beautiful  photographs,  in  color,  of  famous  beau- 
ties of  this  and  other  lands  which  make  charmingly  decorative  pictures  for  the  boudoir.  From 
cover  to  cover  4^€.d\i,t\*i    's  picturesque,   artistic,  colorful.     It  is 

A  Magazine  That  Every  Woman  Wants 

and  that  every  man  wants  his  wife,  daughter,  sister  or  sweetheart  to  have.  There  are  magazines 
of  fashion,  art,  fiction,  politics,  homes  and  gardens — but  until  a  few  months  ago  no  one  had 
thought  of  devoting  a  whole  magazine  to  beauty. 

Dont  Forget  to  Order  from   Your  Dealer 

There  is  always  a  rush — sometimes  a  real  scrimmage  when  4*tacl\rlt\wf  comes  out.  The  price 
is  only  25  cents  a  copy  or  you  may  subscribe  at  the  rate  of    1/  O^-  $2.50  a  year. 

^Geiutvt    is  on  the  stands  the  8th  of  each  month. 

BREWSTER  PUBLICATIONS,  INC.    -    -     Brewster  Buildings,  Brooklyn,  N.  Y. 


m 


llllllllllllllllllHllllHlllllllllllllllllllllllllll 


timiiiiimwiiM 


■■■ 


As  civilization  advances,  the  -world's  sense 
of  the  Value  of  Time  awakens,  and  its 
timekeeping  devices  increase  in  accuracy 
and  refinement.  "Racing  With  Time," 
DeLay's  spirited  painting  for  this  month,  is 
typical  of  the  upward,  onward  urge  of  civi- 
lization. 


CValue  of 


By  l^conos 


Paintings  by  HAROLD  DELAY 


IME!"     One  of  the  shortest  words  in  the  Railroad  Man's 
mother  tongue  —  and  doubtless  the  most  tremendous. 

A  race  with  Time !  There  you  have  the  Railroad  Man's  summary 
of  his  very  life.  For  Time  is  his  one  great  objective.  His  shippers,  his 
travelers  place  above  almost  every  other  consideration  the  Value  of  Time. 

Speed  and  safety  travel  together  only  when  Father  Time  himself 
leads  the  way.  For  Father  Time,  on  America's  railroads,  stands  for 
that  amazing  development  of  Time- Service  and  train  dispatching 
which  alone  make  speed  and  safety  possible. 

For  half  a  century,  too,  Father  Time  has  stood  for  the  finest 
railroad  timepieces  that  money,  brains  and  skill  can  produce  — 


Father  Time  has  been  Right's  official  trade- 
mark for  over  fifty  years.  One  of  America's 
favorite  railroad  models  bears  his  name. 

It  is  pictured  below  with  the  Rlgin  Winding 
Indicator,  a  device  of  great  value  to  Railroad 
Men.  This  is  an  almost  absolute  safeguard 
against  "run-downs,"  a  common  and  disas- 
trous cause  of  trouble.  A  glance  at  the  indi- 
cator shows  the  Railroad  Man  exactly  how 
much  power  his  Elgin  has  in  reserve. 

Besides  the  various  Railroad  models,  the 
Rlgin  of  today  is  produced  in  the  Streamline 
series  at  $35  to  $100;  the  Classic  series  at  $150; 
tlie  Corsican  series  at  $175;  the  Presentation 
series  at  $300  to  $500;  and  other  strikingly 
beautiful  and  serviceable  creations  for  men 
and  -women  of  all  ages  and  occupations. 


•      V*~^        7*1  E   SAaROAB STANDASH  FOR  HftfcF  A  CENTWSY.'  ; 


MADE    IN    ELGIN,  U,   S.  A. 


©  ..... 


Page  Three 


SuAPOwiAND 


The    American    Beauty    Contest 


j/e7$idmcm7)@Qi&tCf[its'P0P 


"Mirror,  mirror,  on  the  wall, 
Am  I  the  fairest  of  them  all?" 

We  all  know  the  famous  fairy- 
story  of  the  Queen  who  thus  ad- 
dressed her  mirror  —  and  now 
there  is  a  reason  and  an  opportu- 
nity why  every  woman  should  seek 
similar  counsel  from  her  mirror. 

Then — if  her  mirror  is  encour- 
aging —  she  should  send  us  her 
photo  at  once. 

We  are  looking  for  beauty  and 
only  beauty.  This  is  NOT  a 
movie  contest. 


\Jhxz  "face Will  Ip 


The  Loveliest  Woman  in 
America 

You  may  think  it's  a  tall  order  to 
find  her  among  so  many  beautiful 
women.  It  is — but  the  Brewster  Pub- 
lications, read  thruout  the  length  and 
breadth  of  the  land,  are  determined 
to  find  her — and  find  her  they  will! 

Somewhere,  as  you  read  this  page, 
that  fortunate  young  woman  may  be 
reading  the  same  page,  unconscious 
of  the  fame  and  rewards  that  await 
her. 

Is  it  you?  Is  it  the  girl  next  door? 
Is  it  that  lovely  girl  you  met  last 
summer? 

Read  the  simple  rules,  and  the 
splendid  rewards  that  await  Amer- 
ica's   loveliest   girl ! 


These  Will   Be  the  Rewards  of  America's  Beauty: 

1.  A  trip  to  New  York,  properly  chaperoned,  and  a  chance  to  take  in  the  pleasures  which  only  that  great  city  affords: 
the  opera;  the  theaters;  our  wonderful  library;  the  famous  East  Side;  great  museums;  the  celebrated  Green- 
wich Village;  all  the  luxurious  and  beautiful  shops  on  the  most  luxurious  and  beautiful  street  in  the  world,  Fifth 
Avenue;   and  so  on. 

2.  A  well-known  American  artist  will  paint  her  portrait. 

3.  A  representative  American  sculptor  will  model  her  head. 

4.  These  works  of  art  will  be  exhibited  in  one  of  the  leading  art  galleries  of  New  York  City  and  elsewhere. 

5.  She  will  have  her  picture  on  the  cover  of  BEAUTY. 

There  will  be  a  second  prize  and  a  third  prize,  and  possibly  more.  These  will  be  announced  later.  In  view  of  the 
fact  that  the  American  Beauty  may  be  found  in  New  York  City,  or  its  immediate  vicinity,  the  prize  in  her  case  will 
be  $1,000,  instead   of  the  visit  to  New  York.     Just  think  of  that 

One  Thousand  Dollars!       ($1,000) 

This  is  an  unprecedented  offer.  Do  not  fail  to  take  advantage  of  it.  Send  us  your  photograph.  That  is  all  that  is 
required  of  you.  Think  what  you  may  win — just  because  you  happened  to  be  born  beautiful.  Scrupulous  care  will  be 
taken   of  every  picture   received.    ALL  of  them   will   be   examined  by  the  contest  judges. 

Notice 

Photographs  that  are  submitted  to  us  in  our  Beauty  Contest  will  be  turned  over  to  the  Metropolitan  Magazine,  from 
which  they  will  select  photographs  to  be  used  on  the  Metropolitan  Cover  Contest. 


The  Rules 

1.  No  photographs  will  be  returned. 

2.  No  exceptions  will  be  made  to  this  rule. 

3.  Winners  will  be  notified. 

4.  Snapshots,  strip  pictures,  or  colored  photographs  will  not  be  con- 
sidered. Outside  of  these,  any  kind  of  picture  will  be  accepted ;  full 
length  or  bust,  full  face  or  profile,  'sepia  or  black.  You  may  submit  as 
many  photographs  as  you  wish. 

5.  Photographers,  artists,  friends  and  admirers  may  enter  pictures  of  their 
favorites.    Credit   will   be   given   photographers  whenever   possible. 

6.  Do  not  ask  the  contest  manager  to  discuss  your  chances.  He  has 
nothing  to  do  with  that  end  of  it. 

7.  Do  not  ivrite  letters.    The  close  of  the  contest  will  be  announced  in 

KI0TI0N.&ICTV&E.     Cl^S  S I C 

MAGflllNE  ^*- * 

SuiAPOWLAND    and    ^©<a\itv^ 

at  least  three  months  in  advance.  There  will  be  a  contest  story  every 
month  in  all  four  magazines,  with  all  necessary  news  and  information. 

8.  The  most  beautiful  picture  received  each  month  thruout  the  operation 
of  the  contest,  will  be  published  in  a  monthly  Honor  Roll  in  all  four 
magazines.  These  girls  will  be  notified  when,  and  in  which  magazine 
their  picture  will  appear.  This  does  not  mean  that  they  have  neces- 
sarily qualified  for  the  final  award,  nor  that  those  whose  pictures  are 
not  published  have  failed.  The  winner  will  not  be  decided  upon  until 
the  end  of  the  contest. 

Page  Four 


9.  Such  a  coupon  as  the  one  below,  properly  filled  out,  must  be  PASTED 
on  the  BACK  of  every  photograph  submitted. 

10.  Be  sure  to  put  sufficient  postage  on  your  photograph. 

11.  The  contest  is  open  to  any  girl  or  woman  sixteen  years  or  older,  pro- 
fessional or  non-professional,  in  America.  That  means  the  whole  con- 
tinent! 

NOTE. — Any    infraction    of    these   rules    will   cause    a    contestant    to    be    disbarred 
from   the   contest. 

Address  your  photograph:  Contest  Manager,  Brewster  Publications,  Inc., 
Brewster  Building,  Brooklyn,  N.  Y. 

r. ....... —  --THE  ENTRANCE  COUPON ----------- 

This  is  a  portrait  of: 

Name 

Address 


Age Weight Height 

Color  of  Eyes Hair Complexion 

It    is    submitted    to    the    American    Beauty    Contest,    subject    to   the    rules 
thereof,  by  : 

Name 

Address ■ 


Occupation  (optional) . 


'■¥*" 


r 


rSEP23~ 


O^ 


'C1B547820 


u 


Expressing  the  Arts 


The  Magazine  of  Magazines 
OCTOBER,  1922 

in  i  jiimii  t  m  j  hi  i  mi  itiiriiiiMiii  t  ii  tuin  11  rn  Tiiitnin  u 

Important  Features  in  this  Issue: 


Volume  VII 


THE  PASSING  OF  STAGE  DECORATION 

Sheldon  Cheney 

A  discussion  of  the  revolutionary  theories  agitating  our  artists  of  the  theaters 

MRS.  WHARTON  AND  SOME  OTHERS 

Burton  Rascoe 

A  penetrating  review  of  the  latest  work  of  this  analytical  novelist  and  her 

contemporaries 

WYNN  INVADES  GERMANY 

Inimitable    cartoons    of    the    Diplomat,    the    Soldier,    the    Policeman,    the 
Maiden,  and  other  strollers  unter  der  linden 

THE  TAKEUCHIS :  Father  and  Son.  .  .  .  Melville  Johnson 

An  appreciation  of  the  work  of  these  interpreters  of  the  best  in  modern 

Japanese  art 

THE  SEASON  OF  SYMPHONY Jerome  Hart 

The  feast  that  is  to  be  spread  for  music-loving  America  this  winter 

WILLIAM  J.  GLACKENS:  Master  of  Color 

Walter  Pach 

The   one    artist   whose   work   is   praised   by    members    of   the    conservative 
school  and  the  most  advanced  of  the  modernists 

CANDIDA  CONTINUED Benjamin  De  Casseres 

A  pleasing  interview  with  Ellen  Van  Volkenberg,  who  adds   a  fourth  act 
to  the  famous  play  of  G.  B.  S. 

THE  CAMERA  CONTEST— This  has  become  an  important 
feature  in  Shadowland.     Each  month's  prize-winning  photographs 
are  reproduced,  and  some  point  in  picture  taking  that  will  inter- 
est the  amateur  is  discussed. 

immiimiiiimimiiiimiimimmumiiitiiiiiiiiiiin 


Number  2 


Published   Monthly  by   Brewster   Publications,  Inc.,    at    Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.   Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1S79. 

PRINTED    IN    U.    S.    A. 

Eugene  V.  Brewster,   President  and  Editor-in-Chief ;  Guy   L.  Harrington,    Vice-President   and  Business  Manager; 
L.  G.  Conlon,  Treasurer;  E.  M.  Heinemann,  Secretary 

EXECUTIVE  and  EDITORIAL  OFFICES,  175   DUFFIELD   STREET,  BROOKLYN,   N.  Y. 

Elsie  Seeligmann,    Editor 
Adele   Whitely    Fletcher,   Managing   Editor  Jerome  Hart,   Associate  Editor 

Subscription  $3.50  per  year,  in  advance,  including  postage  in  the  U.  S.,  Cuba,  Mexico  and  Philippines;  in  Canada 
and  foreign  countries,  $4.50  per  year.  Single  copies,  35  cents.  Postage  prepaid.  One  and  two  cent  United 
States   Government  stamps   accepted.      Subscribers  must  notify  us  at  once  of  any   change   of   address,   giving   both 

old  and  new  address. 

Copyright,  1922,  by  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 


Page  Five 


t 


Page  Six 


J 


AFTER  THE  PLAY 

An   original  water-color  poster   by   Giro 


-      : — 


i  V    I  k  f 


HAROLD  LLOYD 

As  he    is   visualized    by    Wynn    in  Paris 


Tliuto  <o  by  Albert  J,  Kopec,  L.  A. 


DERELYS  PERDUE 

Painted   by   Harry  Roseland 
From  an  Albert  J.  Kopec  photograph 


FLOWERS 

From  an  original  painting  by  William 
J.  Glackens,  who,  as  the  first  PresU 
dent  of  the  Society  of  Independent 
Artists,  is  justifying  the  predictions 
for  a  celebrated  career  assigned  to 
him  by  William  M.  Chase,  J.  Alden 
Weir  and  other  authorities  of  the 
same  generation.  An  appreciation  of 
Mr.  Glackens'  work  is  given  in  the 
accompanying  article 


WOMAN  AND  CHILD 

This  canvas  shows  that  in  his 
painting,  which  embodies  more 
perfectly  perhaps  than  any  oth- 
er in  this  country  the  great 
discoveries  that  the  Impres- 
sionists made  in  the  realm  of 
color,  the  artist  is  still  keeping 
close  to  the  interest  in  the  sub- 
ject before  him  which  underlies 
the  distinguished  character  of 
his  drawing 


rhoto  by  Nickolas  Muray 


DESHA 

The  spotlight  followed  the  dancing  of  Desha  thru  the  Fokine  Ballet  and 
the  "Rose  of  Stamboul."  This  year  before  she  comes  to  Broadway,  under 
Rivoli  and  Rialto  management,  she  will  go  to  Philadelphia  and  Rochester 


Page  Thirteen 


Wynn 
Invades  Germany 


THE  SOLDIER 

This  is  the  army  wear- 
ing the  only  helmet 
left  by  those  souvenir 
fiends,  the  doughboys. 
The  army  is  debating 
whether,  with  condi- 
tions as  they  are,  it 
wouldn't  be  wise  to 
go  to  the  States  and 
start  a  nice  little  deli- 
catessen   store.      Yes? 


THE  DIPLOMAT 

Herr  Gesundheit  is 
not  tipping  his  hat, 
politely — he  is  cool- 
ing his  fevered  brow. 
He  has  just  had  his 
plan  on  reparations 
turned  down,  because 
his  bitter  rival,  Herr 
Schwartz,  presented 
one  that  ivasted  at  least 
six  months  more  time 


THE  DOG 

Pilsner,  who  is  the  prominent  member  of 
the  Reicher  family,  got  the  Iron  Cross  for 
barking  at  an  Englishman  in  Cologne,  three 
months  after  the  armistice.  Pilsner  is  a 
trifle  shy,  but  the  rest  of  the  household  are 
not  so  afflicted.  Papa  Reicher  sits  on  the 
extreme  Right,  but  Karl  cultivates  a  Marxian 
expression   and  leans  violently   to   the  Left 


Page  Fourteen 


THE   PROFESSOR 

Judging  by  the  mournful  expression  on  the 
Dachshund's  face,  who  wants  to  go  home  to 
his  wienerwurst,  Herr  Professor  is  going  to 
drink  it  out  on  this  line  if  it  takes  all  night. 
Also  after  counting  the  pile  of  saucers,  the 
conclusion  is  reached  that  either  the  professor 
is  a  millionaire  or  his  credit  is  good 


THE  MAIDEN 

This  is  Fraulein  Bitte 
gieb  Mir,  a  madchen 
of  curves  and  concen- 
trated expression.  Her 
nice  yellow  pocket- 
book  contains  but  a 
powder-puff ;  neverthe- 
less, she  is  planning 
her  evening  meal.  Will 
she  cook  it  with  her 
own  fair  hands?  How 
could  you  ask  such  a 
thing? 


THE  POLICEMAN 

In  spite  of  his  beauti- 
ful costume  and  the 
star  on  his  hat,  his 
feet  give  him  away: 
showing  below  a 
swinging  door,  they 
couldn't  be  told  from 
those  of  a  New  York 
detective.  In  other 
words,  he  is  the 
minion  of  the  laiv 
who  guides  you  safely 
from  the  bank  to  your 
hotel  after  you  have 
changed  a  nickel  into 
marks 


THE  GREAT  DIVIDE 

Calculating  your  tips  in  nmrks  makes  Ein- 
stein's theory  seem  mere  child's  play.  The 
bell-boy  is  afraid  that  the  lovely  young  man 
from  the  V.  S.  A.,  where  every  one  is  rich, 
will  get  all  worn  out  before  he  has  counted 
off  enough  marks  to  make  more  than  two 
cents,  American 


Page  Fifteen 


Photo  ©  by  Albin 


LOUBOVSKA 

This   vivid  interpreter   of  the   ballet   has   been 
dancing   with   her   company   in   South   America 


Page  Sixteen 


Photo  by  Louis  Fleckenstein,  L.  A. 


BETH  BERI 

Who,   when   she    is   not   posing    tragically, 
dances  blithely  across  the  vaudeville  stage 


Page  Seventeen 


Vs— -     OAJS^'i. 


MADEMOISELLE  BOUFFANTE 

By  F.  Fabiano,  Paris 


Page  Eighteen 


Candida  Continued 

In  Which  Ellen  Van  Yolkenburg,  Master  Interpreter  of  This  Extra- 
ordinary Heroine  of  G.  B.  S.,  Adds  a  Fourth  Act  to  His  Famous  Play 

By  Benjamin  De  Casseres 


C~>  K.ORGE  BERNARD  SHAW  wrote  "Candida" 
-—-  in  three  acts.  But  I  was  lately  the  leading  man 
Jr  in  the  fourth  act  of  Shaw's  play.  The  leading 
woman  was  Ellen  Van  Yolkenburg  (Mrs.  Maurice 
Browne),  who  played  in  the  first  three  acts  for  three 
weeks  at  the  Greenwich  Village  Theater. 

The  curious  thing  happened  this  way :  I  went  to  the 
Greenwich  Village  Theater  one  Thursday  afternoon  at 
about  four-twenty  to  have  a  talk  with  Miss  Van  Volken- 
burg.  There  was  a  matinee  on.  I  listened-in  from  behind 
the  fireplace  at  "Candy"  going  up  for  auction.  The  bid- 
ders, as  you  know,  were  Eugene  Marshbanks,  a  cosmic 
maA;erick,  and  the  Rev.  James'  Mavers  Morell,  the  self- 
sufficient  wdndbag  husband  of  Candida. 

The  play  winds  up — at  five-forty — as  every  good  Sha- 
vian knows,  by  Eugene  going  out  ''into  the  night"  to  rent 
out  his  soul  elsewhere,  and  the  Rev.  hubby  and  Candida 
beginning  life  on  a  new  basis  in  a  kiss-clinch.  The  final 
curtain  had  fallen  and  I  waylaid  Miss  Van  Volkenburg  on 
her  way  to  her  dressing-room.  I  stated  my  intent.  The 
dark  lady  with  the  big,  lustrous,  black  eyes  looked  around 
the  stage  doubtfully  for  a  place  where  we  could  talk.  Not 
seeing  a  bench  or  a  seat  in  the  darkness,  she  suggested 
that  we  go  back  on  the  set  and  hold  high  discourse  on  the 
Greek  drama,  Sfiaw,  puppet-plays  and  prohibition. 

We  had  both  got  comfortably  seated  on  the  very  old- 
fashioned  sofa  on  which  a  little  while  before  Candida 
and  Eugene  had  sat  spooning  in  the  dead  of  the  night 
with  the  sword  between  them,  when  an  unromantic  or 
prankish  stage-hand  rolled  up  the  curtain  to  give  us  air 
and  light. 

The  audience  was  only  half  out  of  the  house,  and  as 
the  curtain  went  up,  disclosing  Candida  and  myself 
seated  on  the  sofa  in  intellectual  conference,  there  was 
amazement  on  all  faces. 

"Why,  Mamma,  there  is  another  act!"  exclaimed  a 
young  girl  to  her  mother. 

"There  cant  be,  dear.  I've  read  -the  play,  and  Mr. 
Shaw  wrote  only  three  acts,"  replied  Mamma. 

We  had  the  curtain  lowered  until  the  auditorium 
emptied. 

"What  do  you  think  really  happened  to  Candida,  Mor- 
ell and  Marshbanks  after  the  play?"  I  asked  Miss  Van 
Volkenburg. 

Her  dark  and  luxuriant  face  fluxed  to  a 
smile. 

"Why,  the  usual  thing.     Eugene,  the 
poet,  came  back  to  see  us  after  he  had 
written  a  poem  in  twelve  cantos  sati- 
rizing the  English  middle-class  home 
and  glorifying  the   revolutionary 
spirit   of   mad  poets.      He   settled 
down  with  us.     Morell  got  used  to 
him   and   he   got    used   to    Morell. 
As  the  years  wore  on,  Eugene  be- 
came a  hopeless  bourgeois  and  Mo- 
rell became  an  apostle  of  free  love. 
They  converted  each  other." 

"And  Candida — what' became  of  her 
in  the  endless  fourth  act?" 


"She  mothered  them  both." 
"Platonically,  in  the  case  of   Eugene?" 
"That's    Candida's    secret,"    smiled    back     Miss     Van 
Volkenburg. 

It  got  chilly  on  the  stage  and  we  went  to  sit  on  a  bench 
in  a  dark  corner  over  some  steam  pipes.     . 

"How  do  the  audiences  differ  in  the  'little'  theaters 
from  the  average  transient  audiences  in  the  larger  play- 
houses?" I  asked. 

"The  audiences  in  the  average  Broadway  houses  art 
people.  In  the  'little,'  intimate  theaters  they  are  persons. 
It  is  the  difference  between  collective  attention  and  indi- 
vidual attention.  The  'highbrow'  audience  sends  a  thou- 
sand individual  reactions  over  the  footlights  to  the  play- 
ers, where  the  average  audience  at  a  mediocre  play  sends 
but  one  collective  reaction. 

"It  must  be  remembered  that  the  actor  or  actress  who 
is  not  just  a  puppet  reciting  lines  is  carrying  on  a  double 
cerebral  and  emotional  process  at  once.  He  or  she  is 
living  the  life  of  the  part  and  is  living  in  the  conscious- 
ness of  the  audience  at  the  same  time.  In  the  'little' 
theaters  this  double  celebration  is  accentuated  by  the, 
presumably,  higher  psychic  organizations  of  the  actors 
taking  part  in  a  Strindberg,  an  Ibsen  or  a  Shaw  play, 
and  those  of  the  audience." 

"What  do  you  make  out  of  that  extraordinary  Thekla 
in  Strindberg's  'Creditors,'  which  you  played,  it  seemed 
to  me,  perfectly?" 

"Thekla  is  not  a  woman — but  a  Strindberg  woman. 
She  is  the  incarnation  of  Strindberg's  misogyny.  In 
Thekla  he  shot  his  venom.  Was  it  because  Strindberg 
was  conscious  of  his  inferiority  to  women  that  he  gener- 
ally made  them  Madame  Satans?  Freud  would  say  so. 
So  will  I. 

"Strindberg  took  all  the  cobra-de-capello  latencies  that 
he  discovered  in  the  soul  of  woman  and  massed  them 
into  a  concrete  creation.  All  his  women — those  that 
will  live  in  his  dramas — were  daughters  of  Iago  and 
Lady  Macbeth.  He  has  no  Cordelia  complex — like 
Shakespeare.  Shaw  in  'Man  and  Superman'  makes  of 
woman  the  pursuer.  Strindberg  makes  her  not  only  the 
pursuer  but  the  executioner." 

"In  your  extensive  repertoire  what  are  your  favorite 
parts  ?" 

"Nora  in  Ibsen's  'The  Doll's  House,'  and 
Mrs.  Blair  in  'Joint  Owners  in  Spain.'     I 
never  get  tired  of  them." 

Just  then   tea   was   announced   on 

the    stage    for   the    company    and    a 

few  friends.     I  could  not  be  lured, 

as,    far    away    in    Washington 

Heights,    six   per   cent,    homebrew 

awaited  me. 

Ellen  Van  Volkenburg  is  a 

highly   differentiated   individual 

without    being    at    all    eccentric — a 

sure   sign   of    intelligence.      On    me, 

she  made  an  impression  where 

most  stage  w  o  m  en  usually  m  a  k  e  a 

vacuum. 


Page  Nineteen 


Photo  by  Hoover,  Is.  A. 


This  lovely  daughter  of  Cleopatra  lives 
in  modern  Hollywood  instead  of  ancient 
Egypt.  She  is  Miss  Eleanor  Louise  Putnam, 
an  entrant  in  the  American  Beauty  Contest 


Page  Twenty 


hoto  by  James  Harris  Connelly.  Chicago 


FRANCES  WHITE 

The  provinces  will  benefit  this  winter  by  Broadway's  loss,  for 
this  musical  comedy  favorite  will  tour  the  country  with  "The 
Hotel  Mouse,"  one  of  New  York's  few  successes  of  last  season 


Page  Twenty-One 


East  Side  Interior 


Edward  Hopper,  Draughtsman 

An  Appreciation  of  the  Work  of  an  Etcher 
Who  Does  Not  Belong  to  the  Rank  and  File 

By  Guy  Pene  du  Bois 


SUPPLY  and  demand  are  probably  as  inseparable  in 
art  as  elsewhere.  The  collectors  of  prints  are 
responsible  for  the  prevailing  styles  in  etching. 
Most  collectors  of  etchings  are  stamp  collectors  diverted 
from  their  original  habit,  sometimes  by  a  coincident  accu- 
mulation of  greater  sums  of  money,  at  other  times  by 
ambition.  It  is  probable  that  most  truly  avid  collectors 
get  joy  thru  the  creation  of  envy.  These  are  pathological 
cases.  But  all  collectors  of  prints  of  any  kind  have  less 
interest  in  art  than  in  printing,  and  less  interest  in  printing 
than  in  rarity.  An  early  Chinese  stamp  or  a  hundred 
gilder  proof  in  perfect  condition  are  collected  for  precisely 
the  same  reason.  Art  is  not  concerned  in  that  reason. 
Art  is  scarcely  concerned  with  the  numberless,  often 
less  evident,  by-reasons  for  the  collection  of  prints.  Most 
of  these  are  technical — -a  matter  of  putting  the  cart  before 
the  horse,  a  question  of  variety  of  line,  of  quality  in  ink, 
clearness  in  impression  and  of  original  marginal  depth. 
Most  etchers  do  wonderfully  intricate  traceries  with 
agile  needles,  line  photographs  of  cathedrals,  of  doorways, 
of  old  buildings,   of  architectural  masterpieces,   of   any- 


thing that  will  prove  technical  proficiency.  This  is 
mainly  shown,  especially  since  Whistler,  by  great  delicacy, 
a  breath-taking  nimbleness,  a  faultless  incision.  The 
painter  may  stumble ;  the  etcher  must  never  stumble.  He 
is  a  performing  violinist.     His  false  notes  are  disasters. 

It  is  nearly  impossible  to  begin  a  note  on  a  draughts- 
man like  Edward  Hopper  without  scanning  the  field  of 
the  art  in  which  he  is  beginning  to  get  a  very  much  de- 
served recognition. 

Edward  Hopper  probably  believes  that  he  belongs  in 
the  class  of  etchers.  He  also  talks  about  states,  inks, 
papers,  presses,  baths,  copper,  zinc  and  the  rest.  He  is 
a  good  craftsman.  But,  while  the  other  men  are  essen- 
tially interested  in  craft,  Hopper  drives,  with  special 
reservations,  personal  or  art  reticences,  for  the  presenta- 
tion of  things  that  have  appealed  to  him.  About  this 
there  may  be  some  confusion.  The  path  appears  straighter 
than  it  is.  The  things  that  appeal  to  him  are  often  sat 
upon  by  him.  The  house  must  be  in  order,  the  balance 
kept.  He  sends  a  railroad  train  crashing  thru  an  idyl — 
the  black  engine  passes  like  a  throb  of  conscience— or  is 


Page  Tzventy-Tzvo 


I 


SuiAOOWLAND 


it  this  hell  we  live 
in? 

His  composition 
is  often  barren.  It 
is  never  without 
a  certain  austerity 
and  a  definite  vis- 
ual integrity.  His 
liberties  are  omis- 
sions. He  is  afraid 
of  extravagance; 
afraid  to  be  car- 
ried by  enthusi- 
asm or  excitement 
into  the  ridiculous. 
Bang,  comes  the 
engine,  the  reality. 
Straighten  up  ! 
There  is  no  more 
ordered  rendering 
of  impressions. 
He  may  be  our 
only  true  remind- 
er of  the  rugged- 
ness  of  the  early 
Puritans.  He  is 
not  an  easily  en- 
slaved animal. 
The  discipline 
must  be  prodigi- 
ous. The  man- 
nerisms of  the 
loose  -  thinking 
colorist  never 
creep    into    his 


Night  Shadows 


Night   in   the  Park 


work.  There 
is  little  mel- 
low warmth  : 
none  of  the 
rounding 
curves  of 
florid  flesh  in 
it ;  but  a  heat 
nevertheless : 
a  flame  that 
burns,  d  e  - 
mands,  takes 
—  a  white 
flame.  Of  this 
order  is  Ingres 
who  was  a 
purist,  which 
is  not  neces- 
sarily to  say 
a   Puritan. 

But  perhaps 
it  is  enough  to 
say  that  Ed- 
ward Hopper 
does  not  be- 
long to  the 
rank  and  file 
of  etchers, 
and  that  he  is 
an  artist.  That 
is  really  the 
principal 
thing  to  be 
considered  in 
any  creative 
work. 


Page  Twenty-Three 


,:■..,.    , 


Special  study  by  Maurice  Goldberg 


Rose  Rotanda,  whose  interpretative  dances  in  "The  Music  Box 
Revue"  and  other  Broadway  successes  have,  an  unfailing  charm 


Twentv-Four 


Too  Far  to  the  Left 

The  Brilliant  Rachmaninoff  Declares  Himself  Out  of  Sympathy  with  the  "Musical  Bolshevists" 
— Those  Young  Composers  Who   Ignore   Melody   and  Substitute   Cacophony  for  Harmony 

By  Jerome  Hart 


WHAT  Rachmaninoff  has  to  say  with  regard  to 
the   modernist   composers   deserves   to   be   read 
and  pondered,  so  I  shall  quote  his  closing  words 
first.    They  are  by  way  of  advice  to  the  young  composer. 

I  have  no  doubt  they  will  be  laughed  to  scorn  by  those 
who,  having  acquired  a  nodding  acquaintance  with  the 
rudiments  of  music  and  apparently  none  at  all  with  the 
principles  of  harmony  and  counterpoint,  and  who  know 
so  little  of  orchestration  that  they  give  the  instruments 
impossible  things  to  do,  calmly  sit  down  and  write  what 
they  are  pleased  to  call  orchestral  poems  and  suites,  as 
well  as  pas- 
sacaglias  with 
hideously 
boresome    re- 
petitions   and 
a  never-end- 
ing   pedal 
point — not  to 
mention    bar- 
less  and  beat- 
less    music, 
music    with- 
out a  key  sig- 
nature, and 
what  not. 

Rachmani- 
noff's only  ad- 
vice to  young 
composers  is : 

"Work 
hard,  and  do 
not  go  too 
far  to  the 
Left.  Dont 
become  Bol- 
shevist in 
music."    . 

From  this, 
one  may  be 
permitted  t  o 
draw  conclu- 
sions as  to 
the  great 
pianist's  pol- 
itical opin- 
ions, and  to 
surmise  why 
he  shook  his 
head  sadly 
when  Ant- 
cliffe  asked 
him  if  he 
were  going 
back  to  Rus- 
sia. 

Rachmani- 
noff and  his 
talented  kins- 
m  a  n  and 
teacher,  Si- 
loti,  know  too 
much  about 
the     practical 


workings  of  Sovietism  to  trust  themselves  to  the  tender 
mercies  of  the  present  Russian  regime.  It  is  doubtful  if 
Chaliapin  ever  would  have  returned  to  his  country  had 
not  the  Bolshevists  retained  his  family  as  hostage. 

Politics,  of  course,  should  have  nothing  to  do  with 
music,  altho  it  is  noticeable  that  musical  revolution- 
ists nowadays  are  decidedly  radical  in  their  political 
tendencies.  So,  incidentally,  was  Beethoven,  also  Wagner, 
tho  the  fact  did  not  prevent  them  from  writing  glorious 
and  thoroly  beautiful  music. 

But   Beethoven  and' Wagner  were  sanely  radical,  not 

insanely  a  n  - 
a  r  c  h  i  s  t  i  c. 
They  did  not, 
to  use  Rach- 
ma  n  i  noff 's 
words,  "go 
too  far  to  the 
Left."  They 
did  not  try  to 
subvert  the 
rules  on 
which  music 
is  founded; 
they  did  not 
ignore  mel- 
ody, substi- 
tute cacoph- 
ony for  har- 
m  o  n  y ,  and 
indulge  in 
vain  repeti- 
tions like  the 
Dadaists. 

Rachmani- 
noff says  lit- 
tle or  nothing 
concerning 
music  and 
musicians  i  n 
America.  He 
has  compared 
certain  or- 
chestral con- 
di  t.i  o  n  s  in 
New  York 
with  those 
prevailing  i  n 
London,  to 
the  advan- 
tage of  the 
former. 

After  prais- 
ing the  qual- 
ity of  English 
o  r  ch  e  stras 
and  conduc- 
tors, he  're- 
fers to  the 
difficulty  ex- 
perienced i  n 
London  in 
{Cont'd  on 
page  72) 


From  a  drawing  by  Pasteriaka 


Rachmaninoff  in  a   Creative  Mood    - 


Page  Twenty-Five 


Youth's 

Sweet-Scented 

Manuscript 

Photos  by  John  Ellis,  from  Richard 

Walton  Tulh/s  superb  production 

of  "Omar,  the  Tentmaker" 


Verses  from  the  "Rubdlydt  of  Omar 
Khayyam" 


Young  Omar  (Guy  Bates  Post) 
sings  to  his  Shireen  (Virginia 
Faire)  : 

.  .  .  Ah,  that  Spring  should  vanish  with 

the  Rose! 
That    Youth's    sweet-scented    manuscript 
should  close! 
The   Nightingale   that  in   the  branches 
sang.  .  . 
Ah  tvhence,  and  whither  flown  again,  who-  ■ 
knows ! 

My   Love!    could  you  and,  I  with    Him 

conspire 
To  grasp   this  sorry  Scheme   of   Things 

entire, 
Would  we  not  shatter  it  to  bits — and 

then 
Remold  it  nearer  to  the  Heart's  desire? 

Von  rising  Moon  that  looks  for  us  again — 

How    oft    hereafter    will    she    wax    ami 

wane ; 

How  oft  hereafter,  rising,  look  for  us 

Thru  this  same  Garden — and  for  one  in 

vain! 


But  for  his  boon  companions  in 
the  tavern,  Hassan  and  Nizam, 
Omar  has  a  gayer  song : 

Come,   fill    the    Cup,    and    in    the    fire    of 

Spring 
Your      Winter-garment     of     Repentance 
fling: 
The  Bird  of  Time  has  but  a  little  way 
To  flutter — and  the  Bird  is  on  the  wing. 

Indeed,  indeed.  Repentance   oft  before 
J  swore — but  was  I  sober  when  I  swore? 
And   then,  and   then   came  Spring,  and 
Rose-in-hand 
My  threadbare  Penitence  apieces  tore. 

When  you  and  I  behind  the  Veil  are  past. 
Oh,  but  the  long,  long  while  the   World 

shall    last — 
Which    of    our    Coming    and    Departure 

heeds 
4s    'the   Sea's   self    should    heed   a    pebble 

cast. 


Page   Twenty-Six 


Painted  Gardens 


Blondelle  Malone  might  well  be  called  the  "Garden 
Artist  of  America."  Pupil  of  Twachtman  and  Chase. 
World  wanderer  in  search  oj  color.  She  gives  her 
paintings  a  charm  as  elusive  as  the  fragrance  that 
hovers  over  the  old-fashioned  gardens  of  her  native 
South.  Her  first  exhibition  picture  in  the  Paris  Salon 
was  "The  Garden  of  Pisarro,"  painted  during  a  visit 
to  Madame  Camille  Pisarro,  wife  of  the  famous 
artist.  She  has  exhibited  at  the  Royal  Academy  of 
London  and  Dublin,  and  in  this  country  at  the  Archi- 
tectural  League  and  the  Pennsylvania  Academy.  In 
the  fall,  she  plans  to  have  a  private  exhibition  of 
her  works  at  her  spacious  Beekman  Place  studio  that 
overlooks  the  East  River 


One  expects  paintings  of  the  prize  roses  at 
Bagatelle,  near  Paris,  so  this  charming  one 
of  the  water-lilies  is  a  welcome  change.  And 
yet,  the  whole  atmosphere  of  the  painting 
seems  to  say,  "Somewhere,  just  around  the 
corner  the  roses  are  blooming" 


In  this  delightful  view  of  a 
corner  at  "Hopelands,"  Mrs. 
Oliver  Iselin's  residence  at 
Aiken,  S.  C,  the  garden  wan- 
ders thru  the  loggia  into  the 
house,  or  is  it  the  house  that 
wanders   into   the   garden 


There  is  an  air  of  quaint  in- 
formality in  this  glimpse  of 
Mrs.  Willard  Straight's  garden 
"Whitney  Court,"  Aiken,  S.  C 
One  of  the  most  beautiful  gar 
dens  in  the  South  and  an  ever 
fragrant  memorial  to  Mrs.  Whit 
nev.      Mrs.      Straight's      mother 


Page  Twentv-Seven 


The  Passing  of  Stage  Decoration 

Elimination  of  Scenery  as  We  Know  It,  Replacement  by  the  Sensation  of  Endless  Space, 
Focalization  of  Lights,  These  Are  the  Revolutionary  Theories  Agitating  the  Stage  Today 

By  Sheldon  Cheney 


IN  time  some  historian  of  the  theater  will  doubtless 
trace  out  the  reasons  why  stage  decoration  came  to 
occupy  such  an  over-important  place  in  American 
play  production  during  the  first  twenty  years  of  the 
twentieth  century.  Certainly  the  most  talented  and 
most  progressive  artists  in  our  theaters  today,  as  a  group, 
are  to  be  found,  not  in  the  ranks  of  the  actors  or  the 
playwrights  .or  the  producers,  but  among  the  score  or 
more  young  "decorators,"  who  have  practically  revolu- 
tionized methods  of  staging  within  little  more  than  a  de- 
cade. One  of  the  reasons,  of  course,  will  be  discovered 
in  the  poverty  of  our  playwriting  in  those  years,  on  the 
same  principle  which  leads  a  flapper  with  none  too  many 
personal  charms  to  doll  up  more  elaborately  than  her  bet- 
ter-favored sisters.  Another  reason  will  be  found  in  the 
very  evil  estate  into  which  stage  decoration  had  fallen  in 
the  late  nineteenth  century :  that  department  of  stag- 
ing needed  creative  attention  more  than  any  other — and 
has  finally  got  it  with  a  vengeance.  But  justly  or  un- 
justly, logically  or  illogically,  the  decorator  has  just 
now  been  having  his  day. 

Wouldn't  it  then  be  a  bit  ironical  if  stage  decoration 
suddenly  tended  to  disappear  from  the  world's  theaters, 
just  at  the  moment  when  we  Americans  have  developed 
our  finest  theatrical  talent  in  that  direction  ?  That  is,  in 
a  very  true  sense,  what  is  transpiring.  At  least  some  of 
the  best  decorators  in  the  world  are  discarding  the  stage 
picture  as  such,  are  eliminating  the  entire  stretched-can- 
vas  background  on  which  most  of  the  scenic  artist's 
effort  has  centered  in  the  recent  past,  are  saying  frankly 


that  the  matter  of  stage-setting  a  play  will  in  future  be 
more  in  the  province  of  the  architect,  the  carpenter  and 
the  electrician  than  in  that  of  the  painter.  This  tendency 
has  been  no  secret  from  the  two  or  three  most  progres- 
sive men  among  the  American  decorators — say,  Robert 
Edmond  Jones  and  Norman-Bel  Geddes — and  they  have 
put  on  paper  projects  in  which  decoration,  as  such,  disap- 
pears. But  it  is  a  revolutionary  idea  if  one  has  been 
thinking  in  terms  of  the  general  run  of  our  "best"  stage 
productions. 

The  argument  used  by  all  of  us  who  have  written 
much  about  stage  decoration  is  this :  every  play  must  be 
acted  out  before  some  sort  of  background,  and  that  back- 
ground will  always  have  a  conscious  or  unconscious  ap- 
peal, and  therefore  it  is  better  that  it  be  skilfully  de- 
signed to  be  in  key  with  the  other  elements  of  the  pro- 
duction and  to  reenforce  the  mood  of  the  action.  Great 
progress  has  been  made  toward  that  goal — which  in  its 
broader  aspect  may  be  called  the  synthetic  ideal  of  pro- 
duction. A  good  ideal  it  is,  too,  and  the  reach  after  it 
has  carried  stage  art  a  long  step  forward,  out  of  the  old 
unthinking  sort  of  artificiality,  away  from  a  lot  of  things 
that  were  trivial,  tawdry,  or  cheaply  elaborate,  toward 
an  art  that  is  simpler,  more  honest,  and  to  a  measurable 
extent  more  beautiful. 

But  what  few,  if  any,  of  us  saw  was  that  keeping 
background  in  key 'means  simplification,  and  that  in  cer- 
tain types  of  drama  simplification  logically  approaches 
closer  and  closer  to  elimination ;  and  furthermore,  that 
when     drama    becomes     intense     enough,     concentrated 


A  scene  from  the  Theatre  Guild's  production  of  "From  Morn  to  Midnight' 


Page  Twenty-Eight 


SuADOWLAND 


enough,  the  best  sort  of  subconscious  appeal  is  made  not 
by  any  consciously  designed  backing  at  all  but  by 
darkness,  with  the  players  set  out  in  a  pool  of  light 
down  near  the  audience.  And  that  is  what  is  happen- 
ing on  a  surprisingly  large  number  of  stages ;  utterly 
neutral  backgrounds,  and  oftener  than  not  only  dark 
space.  You  may  put  it  clown  partly  as  the  logical  evo- 
lution of  "the  new  scenery,"  or  as  partly  due  to  the 
swing  of  modernist  playwriting  toward  intensification 
and  concentration.  Or  put  it  down,  if  you  like,  as 
merely  the  latest  whim  in  staging.  But  stage  decora- 
tion, as  decoration,  is  passing. 

Ultimately,  of  course,  when  realism  and  the  realistic 
stage-picture  have  passed  into  history  or  oblivion,  the 
picture-frame  proscenium  and  the  fourth-wall  conven- 
tion will  disappear,  and  we  shall  have  again  a  stage 
that  makes  no  pretense  of  being  anything  but  a  stage — 
a  neutral  architectual  background,  a  naked  stage,  in 
place  of  the  illu'sional  stage  picture.  That  is  an  ulti- 
mate goal  with  most  of  the  progressives ;  but  that  sort 
of  change  is  not  accomplished  in  either  a  decade  or  a 
generation,  because  it  entails  not  merely  different  meth- 
ods of  staging  but  the  building  of  new  theaters.  Ex- 
cept for  a  few  real  secessionists  like  Jacques  Copeau, 


Photos  by  Atelier  Jessen 


Above,  design  by  Hans  Strobach  for  a  new  play  by 
Tagore  to  be  produced  at  the  Volkesbiihne,  Berlin. 
At  the  left,  a  setting  for  "Manon  Lescant,"  and  below, 
another  setting  for  Georg  Kaiser's  expressionist  play. 
"Gas,''    designed   by   Karl   Jakob   Hirsch 


TWiji»j  i)  ui,  ■JiUMIUffiBii-'ii!' 


who  already  has  a 
frankly  theatrical  stage, 
the  progressive  pro- 
ducers in  both  Europe 
and  America  are  likely 
to  be  working  for 
many  years  to  come  in 
today's  theaters,  and  it 
is  their  method  of  seek- 
ing the  neutral  back- 
ground, rather  than 
Copeau's,  that  sug- 
gested this  article.  I 
have  already  foreshad- 
owed the  idea  in  these 
pages,  when,  in  a  re- 
view of  the  Interna- 
tional Theater  Exhibi- 
tion at  Amsterdam,  I 
( Cont'd    on    page    74) 


Page  Twenty-Nine 


Special  Photographs 
by  Edwin  Bower  Hesser 


Youth  will  be  served. 
At  your  service  is  Gladys 
Walton,  who  now  is 
moving  across  the  screen 
in  the  personality  of 
Bret  Harte's  "M'liss" 
in  the  Universal's  pro- 
duction entitled  "The 
Girl      Who     Ran      Wild" 


When  Stars 
in  Their 
Courses 

Are  Young 


Page  Thirty 


Crystal  Gazing 

By 
W.  G.  Bowdoin 


WE  put  a  problem  to  our 
Wisest  Friend,  the 
Mathematician.  "Tell 
us,"  we  said,  "how  many  snow- 
flakes  in  a  snowdrift  three  feet 
high  and  twice  as  long  and  wide." 
The  Wise  One  gave  no  heed,  so 
we  modified  our  question : 

"Tell  us,  then,  how  many  flakes 
in  one  small  goblet  of  snow." 

At  that,  the   Mathematician 
coughed  in  his  beard  and  made  answer : 

"Each  snowflake  is  but  a  frosted  drop  of  water.  Your 
goblet  will  hold  as  many  flakes  as  it  holds  drops  of  water. 
Go  and  make  count,  drop  by  drop." 

We  did  not  work  out  the  problem,  but  we  meditated 
on  it — thus :  In  one  goblet  of  snow  there  must  be  thou- 
sands of  snow  crystals — in  one  gallon  measure  of  snow 
there  must  be  many,  many  thousands  more — in  one  snow- 
drift three  feet  high  and  twice  as  long  and  wide  there 
must  be  a  thousand  million — in  the  Adirondacks,  -when 
December  is  reigning  and  the  world  is  white,  there  must 
be  a  million  times  a  million  times  a  million  times — aghast, 
we  ceased  to  meditate ;  it  was  like  trying  to  define  the 
length  of  one  second  of  eternity. 

And,  after  all,  the  paralyzing  fact  we  wish  to  confront 
you  with  is:  No  ttiuo  snowflakes  are  exactly  alike. 

Among  these  numberless  crystals  there  are  no  dupli- 
cates ! 

What  a  master  the  Designer  of  snowflake  patterns 
must  be ! 

And  what  a  field  for  discovery  this  opens  to  the 
searcher  after  the  beautiful  and  original  in  Design ! 

Beside  it,  the  fascination  of  prospecting  for  precious 
metals  and  gems  dwindles  into  insignificance. 

We  do  not  know  who  first  discovered  this  "snow 
mine,"  but  we  do  know  who  first  gave  us  photographic 
reproductions    of    the    crystals — Mr.    W.    A.    Bently    of 

Jericho,    Ver- 
mont. 

Nearly  forty 
years  ago  his 
discerning 
mother,  having 
a  great  love  for 
the  beautiful 
and  wonderful 
in  nature  and 
wishing  to  de- 
velop in  her 
young  son  a 
kindred-  interest, 
gave    him    a 


s  m  a 


micro- 


scope. 

It    was   early 


November,  and  the  Vermont  win- 
ter had  already  descended.  So  it 
was  quite  natural  that  young 
Bently,  in  his  search  for  objects  of 
interest  in  the.  Wonderland  of 
Outdoors,  should  first  train  his 
magical  magnifying  lens  upon  the 
snowflakes. 

Their  marvelous  beauty  amazed 
and   thrilled   him.     It   was  like  a 
glimpse    into    some    land    of    en- 
chantment.    He  became  intensely  eager  to  have  others 
see  and  enjoy  these  exquisite  gems  from  Cloudland. 

Appreciating  what  an  encouragement  of  this  interest 
might  mean  to  their  son,  his  parents  procured  for  him  a 
photo-micrographic  apparatus,  with  which  he  could 
photograph  the  shimmering  white  flakes  in  their  mag- 
nified form. 

Then  there  began  for  the  boy  a  struggle  to  overcome 
serious  difficulties.  The  tiny  flakes  were  so  fragile,  so 
evanescent ;  they  would  disappear  before  the  lens  of  the 
camera  could  be  properly  adjusted.  And  it  was  only 
after  long  experiment  that  a  black  background  of  the 
right  texture  was  found  to  throw  the  delicate  traceries 
into  sharp  relief  on  the  photographic  plate. 

But  young  Bently  never  was  quite  satisfied.  So  he 
began  to  experiment  with  the  photo-micrographic  ap- 
paratus itself.  After  many  trials,  failures  and  dis- 
couragements, he  .perfected  the  mechanism  and  the 
method —  just  three  years  after  his  first  glimpse  of  the 
magical  crystal. 

But  with  the  perfection  of  his  instrument  his  inter- 
est in  the  snowflake  did  not  flag.  His  work  became  even 
more  fascinating  and  thrilling.  He  and  his  camera  went 
"on  duty"  with  the  first  light  snowfall  of  every  autumn, 
and  they  went  into  mourning  when  the  sun  of  the  late 
spring  forbade  the  visitors  from  Cloudland  to  descend. 
In  the  years  that  Mr.  Bently  has  been  "crystal  gazing," 
he  has  taken 
nearly  five  thou- 
sand  photo- 
graphs of  these 
minute  marvels 
of  nature. 

He  considers 
his  most  beauti- 
ful  specimen 
one  that  he  dis- 
covered just  a 
year  ago.  He 
calls  it  the 
"good  -  luck" 
Make,  for  the  cen- 
terpiece forms  a 
perfect  crystal 
horseshoe. 


Fage  Thirty-One 


£uadowland 


The  atmosphere  of  the  Occident  per- 
meates   this    landscape    of    Seiho's 

The 
Takeuchis 

Seiho    and    Itsuzo,    Father 

and  Son,  Interpreters  of 

the  Best  in  Modern 

Japanese    Art 

By 

Melville  Johnson 


N 


shows  a  Japanese 
feeling  in  her  work, 
met  Itsuzo,  who  is 
considered  the  best 
critic  of  the  modern- 
ists in  Japan,  when 
she  was  studying  art 
with  his  father  Seiho 
Takeuchi.  Seiho  once 
said  to  Katherine 
Sturges,  "In  three 
years  I  could  teach 
you  to  be  an  exhibi- 
tion Japanese  artist. 
You  not  only  ha\ve 
the  true  feeling  and 
paint  from  the  heart, 
but  you  would  be 
able  to  learn  perfect- 
ly the  Japanese 
brush  technique, 
which  very  few  for- 
eigners acquire." 
From  her  study  with 
Seiho  and  also  Kawa 
Kawakita,  one  of  the 
best  of  the  younger 
Japanese  artists, 
Katherine  Sturges 
has  developed  in  her 
drawings  that  elim- 
ination of  detail  and 
delicacy  of  line  and  touch  that  are  purely  oriental  in 
conception.  Her  charming  depictions  of  children 
show  a  strong  Japanese  influence. 

Japanese  art  to  the  average  person  means  the  Japan- 
ese color  print.  Meritorious  modern  Japanese  paint- 
ings are  practically  unknown  in  this  country,  as  our 
modern  painters  are  practically  unknow  to  the  layman 
in  Japan.  The  popularity  of  the  color  print  is  ex- 
plained by  the  excellent  reproductions ;  while,  con- 
versely, the  reproductions  of  the  works  of  the  Jap- 
anese   modernist    that    have    found    their    way    into 


This  lion,  from  a  screen  by  Seiho,  has  not  been 
conventionalized    for    the    sake    of    the    design 


NOWADAYS  Japan- 
ese art  circles  are.  in 
a  hurry  of  assimilat- 
ing American,  European  and 
Japanese  arts.     The  quality  of 

the  product  is  still  debatable.  We  are  somewhat  in  the 
same  state  as  was  ancient  Rome,  where  several  tendencies 
and  schools  came  together,  with  at  first  a  great  deal  of 
confusion  and,  consequently,  the  production  of  poor  work. 
Later,  when  the  fusion  became  perfect,  the  excellence 
of  the  results  needs  no  panegyric  from  me.  Japan  is 
now  going  thru  the  first  stage  with  several  schools  and 
tendencies,  even  Cubism  and  Futurism,  entering  into  the 
melange. 

"The  names  of  Cezanne,  Benoir,  Matisse,  Van  Gogh 
and  Gauguin  are  being  discussed  smoothly  in  our  art 
circles,  like  a  stream  in  a  spring  field.'  But  I  think,  if 
we  enquire  into  the  naked  truth,  we  are  apt  to  be  surfeited 
from  the  water-falling  impulse." 

So  writes  Itsuzo  Takeuchi  from  Kyoto,  Japan,  to  Kath- 
erine Sturges  of  New  York.  Katherine  Sturges,  who, 
perhaps,  more  than  any  other  of  our  modern  illustrators, 


Page  Thirty-Two 


Typically  Japanese  is  the  exaggeration  of  the  ferret  in  this  delicate  composition  by  Seiho 


this  country  have  been  so  poor  as  to  color,  and  blurred 
as  to  fineness  of  line,  upon  which  depends  so  much  of 
their  charm,  that  they  have  failed  to  give  an  adequate  idea 
of  the  originals. 

It  is  very  true  that  the  Japanese  artists  are  now  going 
thru  that  rather  trying  stage  of  assimilating  Western  art 
with  a  fervor  that  is  not  always  well  directed,  and  much 
of  the  academic  pedantry  of  the  Occident  is  being  absorbed 
as  well  as  the  vigor 
and  strength.  That 
is  always  the  way.  It 
took  the  Japanese 
many  years  to  absorb 
and  thoroly  assimil- 
ate Chinese  art,  but 
they  finally  made  it 
their  own. 

Seiho  Takeuchi  is 
the  acknowledged 
leader  of  this  new 
school  of  art  in  Jap- 
an. Unlike  some  of 
the  other  artists,  he 
has  remained  faith- 
ful to  the  Japanese 
technique,  that  abso- 
lute perfection  of 
line,  yet  elimination 
of  non-essential  de- 
tail in  which  the  Jap- 
anese excel.  And  yet, 
his  work  has  a  dis- 
tinctly Occidental 
cast,  perhaps  best 
shown-  in  his  animals, 
where  he  has  broken 


/„ 


away  from  the  Japanese  tendency  of  making  a  composi- 
tion of  the  animal,  in  spite  of  its  natural  formation.  He 
has  also  acquired  perspective,  which,  strange  as  it  may 
seem  to  us,  was  practically  unknown  to  the  Japanese 
before  the  influx  of  Western  art.  It  might  be  said  of 
them  that  they  had  a  flat  artistic  eye. 

Again,   in%his   landscapes   with   their  delicate  trees  or 
the  perfection  of  feeling  he  gets  at  the  edge  of   water, 

he  shows,  pronounc- 
edly, the  influence  of 
Whistler.  Of  course, 
Whistler  was  influ- 
enced by  the  Japan- 
ese, but  only  so  far 
as  it  made  his  lines 
more  delicate  with- 
out sacrificing  the 
underlying  strength 
of  his  compositions. 
All  Seiho's  paintings 
have  a  soft  firmness 
and  a  beautiful,  com- 
pelling composition, 
with  the  strong, 
clear  colors  of  the 
Japanese  school. 
They  are  worked  out 
in  powerful  brush 
strokes.  It  is  said 
that  Japanese  art 
students  reverently 
bump  their  heads  on 
the  floor  three  times 
when  Seiho's  name 
(Continued  on 
page  73) 


l(afht*u. 


Page  Thirty-Three 


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Plioto  ©  James  Wallace  Pondelicek,  Chicago. 

DRYAD 

An  art  study  of  Anna  Ludmila 

/Jar;c'   Thirty-Four 


Mrs.  Wharton  and  Some  Others 


B;y  Burton  Rascoe 


IN  "The  Glimpses  of  the  Moon"  Edith  Wharton  may 
be  said  to  have  scored  her  first  definite  failure.  Yet 
so  considerable  an  artist  is  she  that  her  one  in- 
adequacy is  of  greater  literary  importance  than  the  su- 
preme achievement  of  any  other  woman  novelist  native 
to  America,  save  only  Willa  Sibert  Cather.  Word  reaches 
me  from  Paris  that  "The  Glimpses  of  the  Moon"  was 
composed  under  serious  difficulties,  that  Mrs.  Wharton 
has  been  ill  for  the  better  part  of  a  year,  and  that  she 
wrote  much  of  the  novel  while  racked  with  pain.  This 
would  account  for  the  novel's  thinness,  but  not  for  Mrs. 
Wharton's  sponsoring  it.  Ill  or  well,  there  was  no  urgency 
(I  hope)  in  its  being  printed,  beyond  Mrs.  Wharton's 
view  of  it,  when  completed,  as  not  unworthy  of  her 
signature.  And  that,  I  am  inclined  to  believe,  it  is  not ; 
tho  I  concede  that  many  a  lesser  novelist  might  have 
signed  it  with  pride. 

The  truth  is  that  here  Mrs.  Wharton  has  made  her  one 
serious  error  in  the  choice  of  form.  She  had,  frankly,  a 
theme  for  a  novelette  and,  having  conceived  it  as  a  novel, 
she  was  constrained  to  pad  it  out.  Had  she  bound  the 
story  by  restricting  limits  of  the  novelette  or  the  long 
short  story,  she  might  have  hidden  the  chill  aspect  of  her 
method.  Concision  and  compactness  would  have  given 
rapidity  to  the  events  related,  and  would  have  obscured 
the  fact  that  she  has  left  her  characters  quite  impalpable. 
When  one  must  live  with  the  figures  of  a  book  thru  the 
episodes  of  four  hundred  pages,  one  prefers  that  they 
emerge  more  vitally  than  as  ghosts. 

You  see,  Mrs.  Wharton  carries  the  impersonal  method 
of  composition  to  a  point  attained  by  no  other  writer. 
Flaubert,  long  considered  the  arch-type  of  objective 
fictionist,  is  a  veritable  propagandist  beside  her.  She 
involves  herself  not  at  all  in  the  emotions  of  her  charac- 
ters ;  she  maintains  an  attitude  of  well-bred  austerity ; 
she  tells  her  story,  one  suspects,  without  the  slightest 
change  of  countenance.  It  is  impossible  to  discover  what 
is  going  on  in  her  mind,  whether  she  approves  or  con- 
demns, pities  or  loves.  There  is  something  magnificent  in 
this,  but  is  it,  one  asks,  quite  human?  It  is  a  literary 
feat,  but  is  it,  ultimately,  anything  more  than  a  species 
of  superior  reporting?  By  her  very  aloofness  she  lessens 
the  emotional  interest  in  her  story  and  keeps  her  drama 
to  a  trim  but  lifeless  literary  pattern. 

"The  Glimpses  of  the  Moon" 

The  obtrusion  of  the  author's  personality  is,  often,  a 
disagreeable  and  inartistic  thing.  But  it  is  only  when  the 
author  is  a  sentimental,  unintelligent,  and  inconsequential 
person.  That,  we  know,  Mrs.  Wharton  is  not.  Nothing 
could  well  be  wiser  or  more  intelligent  than  her  beautiful 
and  sympathetic  interpretation  of  "French  Ways  and 
Their  Meaning."  In  this  little  book  she  revealed  that 
she  has  definite  ideas  about  human  conduct,  ethics,  man- 
ners, and  customs  which  it  would  benefit  mankind  more 
generally  to  adopt.  It  revealed,  too,  that  she  has  profound 
sympathies  and  admirations,  a  philosophy  of  life  that  is 
sound,  courageous,  and  enlightened.  It  would  not  hurt, 
indeed  I  think  it  would  help,  her  novels  if  she  mingled 
that  philosophy  a  bit  more  freely  in  their  skilled  and 
precise  delineation   of   aspects   of    contemporary   society. 

"The  Glimpses  of  the  Moon"  (a  title  taken  from 
Hamlet's  apostrophe  to  his  father's  ghost)  is  concerned 
with  the  precarious  life  of   society   sponges.     A   young 


couple,  Nick  and  Susy  Lansing,  indigent  but  popular, 
have  married  with  the  understanding  that  each  shall  not 
interfere  with  the  other's  chance  to  get  on  in  the  world. 
They  are  in  love,  but  they  take  a  rational  view  that  it 
might  not  last;  in  fact,  they  rather  suspect  that  their 
romance  will  fade  in  rapid  time.  But,  being  momentarians 
in  their  philosophy,  they  resolve  that  they  shall  enjoy 
the  dream  while  it  endures.  Susy  is  practical,  and  years 
of  petty  hypocrisy  in  the  interest  of  her  own  comfort  and 
luxury  have  warped  her  nicer  sense  of  values  and  blunted 
her  sensibilities.  She  sees  to  it  that  their  wedding  presents 
are  handsome  checks  rather  than  the  less  readily  negotiable 
impedimenta  of  silver  and  china,  furniture  and  ornaments. 
Cash  in  hand,  they  go  to  Italy,  where  Susy  has  also  seen 
to  it  that  they  enjoy,  rent-free,  the  villa  of  a  wealthy 
friend.  Hitherto  she  had  paid  for  her  sponging  only  by 
the  dubious  but  minor  pretense  of  a  respect  and  cordiality 
she  did  not  feel,  by  a  harmless  flattery  of  dull,  impossible, 
but  wealthy  people.  But  now  she  discovers  that  gratitude 
is  demanded  of  her  in  more  galling  ways.  It  is  expected 
that  she  aid  bored  and  leisured  wives  in  deceiving  their 
husbands  and  act  in  the  interest  of  women  who  have 
momentary  designs  upon  the  personable  husbands  of  de- 
pendent women.  This  is  a  daily  sacrifice  of  self-respect, 
but  she  must  either  make  it  or  give  up  the  life  of  ease  and 
luxury  to  which  she  and  Nick  have  so  long  been  accus- 
tomed. By  ingenious  maneuvers  favors  come  her  way; 
residences  in  Italy,  Switzerland,  France,  and  England  are 
at  her  disposal.  So  blunted  has  her  conscience  become 
that,  thinking  always  of  Nick's  happiness,  she  does  not 
hesitate  to  pack  their  host's  cigars  among  their  effects 
when  she  is  leaving  for  another  proffered  dwelling.  This 
slight  but  significant  episode  brings  Nick,  when  he  dis- 
covers it,  to  a  sharp  realization  that  they  have  both  sunk 
pretty  far. 

Careful   Characterizations 

Well,  they  hazard  more  trying  situations  than  this 
without  disaster  because,  as  they  are  brought  to  realize, 
they  love  each  other.  This  as  a  denouement  is  not  dra- 
matic, but  it  has  the  effect  of  inevitability,  for  Mrs. 
Wharton  is  careful  in  her  characterization  and  she  has  let 
the  reader  see,  even  before  Nick  and  Susy  know,  that 
they  cannot  very  well  do  without  each  other.  It  is  all  very 
shrewdly  worked  out,  for  Mrs.  Wharton  is  a  technician 
who  does  not  blunder  in  her  narrative.  The  difficulty  is 
that  one  is  likely  to  wonder  what  difference  it  makes 
whether  Nick  and  Susy  love  each  other  or  not.  They  are 
not  heroic  nor  even  very  interesting  characters.  This  is 
Mrs.  Wharton's  fault.  Intrinsically,  as  human  beings, 
they  are  as  interesting  as  any  other  figures  portrayed  be- 
tween the  covers  of  a  book,  for  no  human  life  is  insignifi- 
cant in  the  hands  of  a  great  artist.  Nick  and  Susy  are 
without  dramatic,  that  is,  human  interest  precisely  for 
the  reason  that  Mrs.  Wharton  does  not  quite  make  them 
flesh  and  blood.  She  does  not  endow  them  with  what,  for 
convenience,  we  shall  designate  as  souls,  meaning  merely 
that  spiritual  element  which  links  them  in  kinship  with  all 
of  us  who  live  our  brief  day  and  die.  The  point  is  that 
Mrs.  Wharton's  aloofness  is  cold  and  unsympathetic;  her 
detachment  is  such  that  it  kills  or  prohibits  all  emotional 
sympathy  with  her  characters.  In  this  novel,  Strefford 
only  (who  is  a  buffoon  and  a  rake)  compels  our  hearts 
and  wins  our  sympathy  as  at  least  a  person  something 


Page  Thirty-Five 


Si-IADOWLANO 


of  whose  essential  self  we  know.  Nick  and  Susy's  pere- 
grinations are  endurable  largely  because  of  the  route 
they  take  rather  than  what  happens  to  them  while  they 
are  on  it.  The  novel  is,  you  see,  an  intimate  and,  I  suppose, 
a  faithful  picture  of  certain  aspects  of  modern  life  as  it 
is  lived  by  a  moneyed,  sophisticated,  leisured,  cynical,  and 
bored  group  of  people  whose  lives  are  a  transience  of 
seasons  in  the  Alps,  on  the  Riviera,  in  Florence,  and  at 
the  social  capitals  of  Europe  and  America.  As  such  it  is 
important  as  document  in  the  history  of  society.  And 
that  field  in  America  Mrs.  Wharton  has  pretty  well  pre- 
empted. "The  Glimpses  of  the  Moon,"  tho,  by  reason  of 
its  sketchiness,  is  less  important  even  as  document  than 
"The  Age  of  Innocence,"  which  portrays  with  serenity  and 
fidelity  the  social  life  of  America  during  the  closing 
decades  of  the  last  century. 

Miss  Gather's  Intensity 

The  high  place  Mrs.  Wharton's  achievement  occupies 
in  the  lay  and  critical  opinion  of  America  is,  I  think, 
something  of  an  accident.  She  was  for  a  long  time,  by 
default,  the  best  woman  novelist  we  had.  Her  social 
position  was  secure,  her  intelligence  unquestioned,  her 
gifts  considerable,  and  her  novels  distinguished  by  good 
taste,  technical  brilliance,  assurance,  shrewd  observation 
and  a  certain  wealth  of  information  concerning  the  activi- 
ties, manners,  and  interests  of  smart  people  which  other 
novelists  did  not  have.  She  was,  in  fine,  a  capable  novelist 
of  society  who  happened  to  be  in  it.  She  enjoyed  the 
friendship  of  Henry  James  and  he,  in  sincerity,  bestowed 
upon  her  the  accolade  of  Sir  Hubert's  praise.  That  fact, 
I  suspect,  had  much  to  do  with  the  case.  Certainly  now 
there  are  few  critics  who  dare  not  show  her  the  deference 
due  an  artist  of  the  first  rank.  This,  I  risk  the  heresy 
of  believing,  she  is  not.  She  is  not,  I  think,  even  the 
first  among  the  women  writers  of  America.  That  position, 
I  contend,  is  held  by  Miss  Willa  Sibert  Cather. 

The  difference  between  Mrs.  Wharton  and  Miss  Cather 
is  largely  a  difference  between  fine  workmanship  and 
genius,  talent  and  passion,  good  taste  and  ecstasy.  It  is, 
essentially,  that  Miss  Cather  is  a  poet  in  her  intensity  and 
Mrs.  Wharton  is  not.  Miss  Cather's  work  has  that  vital 
quality  requisite  to  moving  and  enduring  art  which  was 
designated  by  a  profound  critic  when,  viewing  the  canvas 
of  a  new  painter,  he  said :  "Yes,  it  is  well  drawn ;  it  is 
correct  in  color,  line,  proportion.  There  is  nothing 
wrong  with  it.  But,  it  lacks  that !"  And  he  snapped  his 
finger.  Mrs.  Wharton  gives  us  correct  pictures ;  Miss 
Cather  gives  us  life  and  the  poetry  and  beauty  of  its 
emotions. 

Nearly  four  years  have  intervened  between  the  publica- 
tion of  "My  Antonia"  and  Miss  Cather's  new  novel,  "One 
of  Ours."  She  writes  slowly;  her  work  will  probably 
never  be  voluminous.  There  is  too  fine  and  delicate  a 
cadence,  too  much  singing  vibrancy  in  her  sentences  for 
her  to  write  much.  She  is  concerned  in  her  new  book 
with  the  presentation  of  a  highly  sensitized  youth  in 
relation  to  the  national  culture  of  America  as  it  is  evi- 
denced in  the  prairie  towns  of  our  Middle- West.  It  is  the 
story  of  a  struggle  with  destiny,  a  struggle  wherein  man 
is  inevitably  defeated  whatever  his  triumphs,  and  which 
alone  among  human  efforts  is  always  beautiful  and  tragic 
and  pathetic  in  its  ironic  implications. 

Claude  Wheeler,  the  hero  of  "One  of  Ours,"  is  a  youth 
with  tremendous  potential  energies  which  are  frustrated 
and  inhibited  on  every  side  by  a  close  and  sterile  environ- 
ment. He  is  driven  in  upon  himself  by  the  covert 
hostility  his  individuality  inspires,  only  to  break  out  inter- 
mittently in  stormy  and  futile  protest.  We  follow  him, 
a  baffled,  meditative,  aspiring  and  tragic  figure  thru  a 
dramatic  career  which,  like  Hamlet's,  takes  place  largely 
within  himself.      In   Claude  Wheeler,    Miss    Cather  has 


created  a  figure  essentially  indigenous  to  America,  whose 
problems  are  the  spiritual  concerns  of  the  race  and  whose 
aspirations  are  the  highest  aspirations  of  our  native 
culture. 

Miss  Cather's  style  is  rich  in  melodic  overtones.  It  has 
a  haunting  and  caressing  beauty.  It  is  a  highly  personal 
style,  rhythmic,  well  wrought,  delicately  modulated,  chang- 
ing in  key  and  tempo  in  accordance  with  the  subject  matter 
of  the  moment.  As  her  novel  may  be  said  to  have  sym- 
phonic form,  so  may  her  style  be  likened  to  the  effect  of 
an  orchestra,  the  strings  and  wood-winds  dominating. 
Were  it  not  that  she  already  has  three  novels  and  a 
volume  of  short  stories  to  her  credit,  which  are  full  of 
beauty  and  distinction,  it  would  be  possible  to  say  of  "One 
of  Ours"  that  this  is  the  work  of  a  prose  artist  at  the 
full  maturity  of  her  powers.  That  might  as  well  be  said 
of  Miss  Cather's  first  published  work.  But  certainly 
this  is,  and  for  that  very  reason,  one  of  the  outstanding 
books  of  the  season. 

Some  Other  Books 

At  the  time  this  causerie  must  be  sent  off  to  press,  my 
impatience  to  see  Sinclair  Lewis'  "Babbitt"  has  not  been 
requited  by  his  publishers.  Mr.  Lewis  has  told  me  about 
it  and  Mr.  Mencken,  who  has  read  the  proofs,  has  spoken 
to  me  of  it  in  glowing  terms.  I  gather,  that  it  is  the 
"Main  Street"  of  the  larger  industrial  cities  of  the  United 
States  and  that  it  is  quite  as  full  of  biting  and  sardonic 
inferences  and  implications  as  its  illustrious  and  popular 
predecessor.  It  is,  then,  in  terms  of  "Main  Street"  that 
I  shall  speak  of  "Babbitt"  before  reading  it.  This  is 
permissible,  for  next  month  I  am  privileged  to  reverse 
my  decision,  upon  an  examination  of  the  evidence.  The 
popularity  of  "Main  Street"  has  been  accounted  for  by 
every  speculation  except  the  obvious  and  generous  one. 
Its  title,  they  say,  led  thousands  to  buy  it ;  the  city  dwellers 
bought  it  because  it  roasted  the  small  town  ;  the  small  town 
people  bought  it  because  they  wanted  to  see  what  had  been 
said  about  them.  Curiosity,  they  say,  not  pleasure,  ac- 
counts for  the  sale  of  the  book.  This  is  a  cynical  and 
pessimistic  view  of  human  nature.  Incline  your  ear 
while  I  whisper  that  I  believe  otherwise.  Let  me  argue 
that  the  make-up  of  the  human  soul  is  not  so  drab  and 
piffling  an  agglomerate  of  petty  motives.  Let  me  insist 
that  there  is,  in  each  of  us,  however  indefinite,  a  secret 
discontent  with  the  limitations  life  has  imposed  upon  us 
and  a  vague,  determined  and  imperative  wish  to  make  of 
our  lives  a  more  splendid,  more  romantic,  more  glorious 
event  than,  in  the  usual  course  of  things,  it  is.  "Maim 
Street"  was  prophylactic,  and  there  are  few  of  us  who 
object  to  mental  hygiene  even  when  we  are  made  aware 
that  we  stand  in  need  of  it.  We  may  make  gestures  of 
protest  out  of  deference  to  the  opinion  of  those  about  us 
and  out  of  a  sense  of  delicacy  which  restrains  our  open 
admission  of  personal  shortcomings.  But,  deep  down 
in  our  inner  being,  most  of  us  can  stand  and  even  welcome 
criticism,  for  it  is  only  by  a  pointing  out  of  our  faults 
that  we  are  able  to  discover  and  overcome  them. 

"Main  Street"  is  a  much  better  book  than  that  critical 
opinion,  which  is  gaged  always  in  inverse  ratio  to  popular 
approval,  adjudged  it  to  be.  It  was  modeled,  quite  obvi- 
ously, on  "Madame  Bovary"  and  it  suffers  from  the  same 
defects  as  well  as  shines  by  many  of  the  same  virtues  of 
Flaubert's  realistic  masterpiece.  Its  defect  is  that  it  is 
carping  and  lacking  in  broad  human  sympathy,  but  its 
very  nature  and  theme  necessitated  these  attitudes.  It  suc- 
ceeded, precisely,  because  it  was  a  sincere  and  honest  ex- 
pression of  a  discontent  with  those  aspects  of  small  town 
life  which  none  of  us  especially  cares  for  either. 

"Babbitt,"  I  am  told,  is  a  depiction,  from  the  same  point 
of  view,  of  the  corroding,  material,  ugly  aspect  of  life  in 
(Continued  on  page  68) 


Page  Thirty-Six 


Mateo  Hernandez 


A  Spanish  sculptor  living  in  Paris  who  is  one 
of  the  few  artists  in  Europe  today  using  the 
"taille  directe."  He  has  returned  to  the  sources 
of  statuary,  and  the  elimination  of  modeling 
makes  it  necessary  for  him  to  know  his 
subject  thoroly 


1 


The  beautiful  simplicity  of  line,  which 
exemplifies  the  artist's  profound 
knowledge  of  form,  distinguishes  this 
porphyry  seal  exhibited  in  the  last 
Societe  Nationale.  While  in  the 
"Vulture"  ancient  Egypt,  with  its 
economy  of  means  and  the  use  of 
essentials  only,  seems  to  have  in- 
spired  Hernandez 


Who  could  resist  the  appealing 
look  in  Hippo's  eyes?  But  teclv- 
nically  speaking,  tremendous  en- 
ergy, prolonged  imagination  and 
an  artistic  conscience  are  necessary 
to  produce  the  smooth  sweep  of 
surface  and  elimination  of  detail 
evidenced     in     this     strong    piece 


Page  Thirty-Seven 


From  The 

Famous.  Screens 

Painted  by 

Robert 

Winthrop 

Chanler 


AN  AVIAN  ARABESQUE 

Owned  by 

Mrs.    Joan   Sanford 


Page  Thirty-Eight 


An  Aristocrat  in  Bohemia 

Such  Is. Robert  Winthrop  Chanler 

By 'Ernestine  Hartley 


DESCENDED  from  an  im- 
posing line  of  worthy  and 
even  eminent  ancestors,  with 
Dutch  and  Puritan  blood  predomi- 
nating, Robert  Winthrop  Chanler 
stands  today  the  living  antithesis 
of  what  his  heredity  might  have 
made  him.  Colonial  governors,  gen- 
erals, clergymen,  jurists — of  such 
stock  is  Robert  Winthrop  Chanler, 
whose  achievements  in  decorative 
art  are  unique  in  the  annals  of  ar- 
tistic America.  "When  the  oldest 
colors  have  faded,  and  the  young- 
est critics  have  died,"  the  imprint 
of  Chanler's  personality  will  hardly 
have  departed.  Here  is  one  who 
has  "splashed  at  a  ten-league  can- 
vas with  brushes  of  comets'  hair." 
You  have  only  to  look  at  his  as- 
tounding screens,  with  their  gor- 
geous, chromatic  arabesques ;  his 
crazily  beautiful  and  beautifully 
crazy  beasts  and  birds  and  flowers, 
and     the     pulsing     harmony     and 


DANCE  OF  THE  PLANETS 
Owned  by  Mrs.  Harry  Payne  Whitney 


THE    GIRAFFES 
Exhibited  at  the  famous  Salon  D'Automne,  Paris 


rhythm  with  which  his  craft  has 
endowed  them,  to  realize  that  here 
is  a  potent  imagination  which  has 
soared  in  realms  of  beauty  denied 
to  all  but  the  divinely  inspired. 

Bob  Chanler,  as  he  is  familiarly 
called,  even  by  passing  acquaint- 
ances, is  one  of  the  shining,  it  might 
almost  be  said,  dazzling  lights  of 
Upper  Bohemia.  And  if  he  would 
he  could  be  reclining  in  the  Knick- 
erbocker Club,  lolling  in  a  lan- 
daulet,  lounging  in  the  salons  of  the 
most  exclusive  residences  on  Fifth 
Avenue,  adorning  the  Golden 
Horseshoe  at  the  Metropolitan 
Opera,  or  disporting  himself  with 
the  socially  elect  at  Newport  or 
Bar  Harbor. 

But  altho  it  can  scarcely  be  said 
of  him  that  he  scorns  delights  and 
lives  laborious  days,  he  is  emphatic- 
ally a  worker.  He  prefers  to 
decorate  the  interiors  of  his 
friends'  houses  to  being  a  social 
decoration  himself.  Like  his  dis- 
tinguished social  compeer,  Mrs. 
Harry  Payne  Whitney,  who  has 
purchased  one  of  his  finest  works, 
he  has  chosen  art  as  a  vocation. 
But  unlike  her,  having  run  thru  a 
pretty  large  fortune,  or,  as  some  say, 
series  of  fortunes,  he  has  taken  up 
art  for  a  living,  and  what  is  more,  he 
has  succeeded,  not  on  the  strength 
of  his  social  position  and  fashionable 
(Continued  on  page  71) 


Page  Thirty-Nine 


Once  she  was  mistaken  for  her  favorite  film 
star.  Since  then  she  has  dressed  the  part. 
Suzanne,  the  maid,  does  not  enthuse  over 
the  ambitions  of  her  mistress.  She  has  just 
spent  two  hours  arranging  Madam's  coiffure, 
and  she  feels  a  re-arrangement  coming. 
She  is  wondering  if  life  is  really  worth  while 


./> 


V  * 


.      I, 

■  I  ii 
II  / 


When  Dare-Devil  Jack  returned  from  dear  old 
London,  he  had  developed  a  strong  left  with  his 
monocle.  And  the  Mayfair  accent,  acquired  from 
the  Duchess  of  Cheshire,  was  the  despair  of  the 
New  York  blue-bloods  ivho  gave  him  such  a  rous- 
ing welcome.  Jack  said  later  that  society  people 
in  America  seemed  a  bit  crude,  but  as  they  were 
really  trying  to  do  right,  ha  was  willing  to  help 
them  along  and  lend  his  charming  presence  to 
their  entertainments 


J^i 


Why  does  Harold,  the  virile  screen  hero 
of  the  West,  hold  his  right  hand  so  coyly 
behind  him?  Can  it  be  that  he  is  reaclu 
ing  for  his  gun?  Does  Harold  need  pro- 
tection from  the  Eastern  heiress?  No. 
Harold  has  just  been  looking  up  the 
amount  of  her  alimony  in  "Spicy  Gossip. 
It  was  not  chance  that  brought  Harold  to 
the  right  spot  at  the  opportune  time. 
Harold  never  took  a  chance  in  his  life 


Page  Forty 


Yearnings 

The  Actor  Dreams  of  the  Social 
Register,  While  Newport's  Perfect 
Hostess  Longs  for  Celluloid  Fame 

Sketches  by  August  Henkel 


We  have  in  this  great  land  of  ours  a  new 
aristocracy.  They  ride  in  purple  upholstered 
limousines  with  orchids  in  a  crystal  vase. 
For  a  rest  and  change  they  come  on  to  the 
Ritz  jor  a  jew  days,  where  they  inscribe  the 
register  with  that  magic  name  Hollywood. 
If  after  playing  in  one  hundred  and  thirty- 
five  film  plays  of  society,  they  cant  handle 
a  head-waiter,  they'd  like  to  know  the 
reason  ivhy 


Percy,  star  of  the  Equine  Film  Company,  is 
getting  ready  to  dine  with  Mrs.  van  Sickles, 
late  of  Park  Avenue  and  still  later  of  Reno. 
The  coming  affair  doesn't  worry  Percy  in  the 
least.  He  has  been  studying  the  Book  of 
Etiquette"  all  the  afternoon.  Witness  the 
bunch  of  flowers  Percy  intends  to  present  with 
a  Chesterfieldian  bow.  Percy,  being  no  slouch 
when  it  comes  to  getting  himself  across,  has 
retained  the  gun  and  spurs  for  atmosphere.  He 
has  heard  that  Mrs.  van  Sickles  has  a  place  in 
Florida.  Percy  is  very  fond  of  tarpon  fishing, 
so  he  says 


Page  Forty-One 


The  Vista  of  the  Dance 

Dancing  as  an  Art  has  always  existed.  The  Modernists  say  there 
has  been  a  perversion  of  the  spirit  of  the  dance  and  that  it  is  the 
fault  of  the  times.    They  are  working  to  carry  on  its  true  traditions 

B;y  Sidney  Baldwin 


EVEN  the  gods  on  Olympus  took  time  from  direct- 
ing the  sun  and  earth  in  their  courses  to  tread  the 
measures  of  some  immortal  dance.  While  Pan 
the  half -god,  piping  in  secluded  nooks  for  mortal  maidens, 
brought  the  dance  to  men,  a  gift  of  the  gods. 

Dancing  always  has  been  and  probably  always  will  be. 
It  is  not  a  cause  but  an  effect  of  social  conditions  and 
morality.  The  dance  does  not  demoralize  but  is  demoral- 
ized. Its  form  is  the  result  of  the  social  system,  and  if  it 
takes  a  form  that  is  not  pleasing,  it  is  some  underlying 
error  in  the  social  system  that  has  produced  it.  The  dance 
cannot  be  blamed  for  the  form  the  social  system  gives  it. 

It  is  the  first  of  the  arts  commemorated  in  picture,  song, 
and  story.  The  most  remote  fairy-tale  handed  down  to 
our  children,  tells  of  ''feasting  and  dancing."  The  ear- 
liest hieroglyphics 
picture  the  king  sit- 
ting in  state  with 
groups  of  dancers 
performing  before 
him.  The  com- 
mercial records 
kept  on  the  cune- 
iform bricks  of 
Babylon  record 
that  a  slave  danc- 
ing girl  was  the 
most  expensive 
purchase  in  a  day 
of  expensive  slaves. 

Dancing  was  by 
no  means  limited  to 
slaves.  Salome,  a 
queen's  daughter, 
pleased  the  court 
by  her  skill.  Even 
Queen  Victoria  was 
fond  of  the  polka. 
And  the  most  mod- 
ern of  princesses 
can  even  neglect 
her  "Outline  of 
History"  if  she  but 
keeps  her  appoint- 
ment with  her 
dancing  teacher. 
And  why  not  ?  The 
dance  is  the  art  of 
movement,  just  as 
music  is  the  art  of 
tone.  To  move  and 
to  cry  are  the  first 
things  a  baby  does, 
and  tho  the  in- 
stincts are  crowded 
out  by  those  things 
more  necessary  to 
existence,  the  need 
for  their  expression 
exists  in  all  of  us. 


L. 


'  ■     'mKBKmHBm 


The  Puritan  movement,  which  eliminated  everything 
conducive  to  happiness  and  preached  abstinence  from  all 
joy  as  a  necessity  for  future  salvation,  merely  completed 
what  the  Reformation  had  started.  And  with  other  joy- 
ous things  the  dance,  as  an  art,  was  condemned  and  went 
down  under  the  burden  of  crimes  attributed  to  it.  Only 
the  ball-room  form  (which  is  the  development  of  the  court- 
ship dance)  survived  its  enemies,  and  served  as  a  connect- 
ing link  between  the  old  period  of  the  dance  and  the  pres- 
ent interest. 

There  have  always  been  people  to  whom  the  waltz  and 
its  attendant  type  of  dance  did  not  appeal.  They  wanted 
a  fuller,  freer  method  of  expression  and  so,  less  than 
twenty  years  ago,  other  schools  of  the  dance  began  to  de- 
velop.    In  every  case  these  schools  began  with  a  leader 

who  had  knowledge 
of  the  dance  as  it 
was  in  the  zenith 
of  its  glory,  and  a 
realization  of  the 
need  of  the  present 
generation  for  the 
freedom  of  thought 
and  expression 
which  the  dance 
gives. 

Isadora  Duncan 
was  the  first  of 
these  leaders  to  re- 
vive the  classical 
dance  in  America. 
There  had  been 
American  dancers 
before  her,  but  they 
were  individualists 
and  had  no  definite 
theory.  Miss  Dun- 
can's school  has  al- 
ways been  limited 
to  a  few  students, 
all  her  pupils  were 
taken  at  an  early  age 
and  educated  entire- 
ly underher  system. 
It  was  really  a  phil- 
osophy of  living, 
with  the  dance  as 
an  exponent. 

The  group  headed 
by  Florence  Flem- 
ing Noyes,  and 
called  "The  Noyes 
Group,"  is  the 
nearest  thing 
America  now  has 
to  this.  Mrs.  Noyes 
does  not  class  her 
school  as  of  the 
dance.  It  is  a 
preparation  for  all 


Photo  by  Arnold  Genthe 
A  group  from  the  Noyes  School  which  does  not  limit 
itself  to   dancing,  but  prepares  for  all   creative  work 


Page  Forty-Two 


Sui4DOwi*N£> 


creative  work  and  turns  out  writers,  musicians, 
sculptors,  as  well  as  business  women  and  social  work- 
ers. Unlike  the  Duncan  School,  except  in  their  Con- 
necticut summer  camp,  there  is  no  community  life. 
They  must  draw  inspiration  for  their  various  work 
from  their  classes. 

Fifteen  years  ago,  with  the  Russian  Ballet  and  its 
formal  technique,  came  Chalif.  We  borrowed  our 
ballet  as  we  had  borrowed  our  opera  from  Europe, 
and  we  had  not  had  the  initiative  to  separate  them. 
Chalif  cut  the  knot  and  he,  perhaps  more  than  any 
other  teacher,  has  given  a  nation-wide  impetus  to  the 
dance.  He  has  one  great  attribute,  he  can  create  a 
dance  and  teach  it  to  a  teacher.  And  because  he 
could  teach  people  to  teach  dancing  he  has  progressed 
from  a  little  hall  on  42nd  Street  to  the  classic  build- 
ing he  now  occupies  on  57th  Street.  And  from  teach- 
ing the  purely  formal  ballet,  he  now  teaches  ballet,  toe, 
national,  character,  interpretive,  folk  and  oriental 
dances,  and  has  composed  a  thousand  and  one  dances 
of  his  own. 


Photo  by  Arthur  F.  Kales 

While  Chalif  was  organizing  his  school  in  New 
York,  another  school  was  growing  on  the  Western 
coast.  Ruth  St.  Denis,  a  long  recognized  star  of  the 
theatrical  stage,  had  found  in  her  company  Ted 
Shawn,  a  young  man  whose  creative  genius  com- 
plemented her  own.  She  was  an  authority  on  the 
dances  of  the  Orient.  He  had  ability  for  expressing 
beauty  in  dance  form.  Together  they  brought  to 
Denishawn  the  personality  which  has  made  it  the 
acknowledged  school  of  the  dance  in  America. 

For  "Denishawn"  is  a  professional  school  and  has 
given  to  the  stage  in  the  last  ten  years  a  great  many 
important  dancers.  Florence  O'Denishawn  who 
(Continued  on  page  67) 


by  Hixon-Connelly  Studios 


Above,  Florence  O'Denishawn,  interpretive  dancer 
supreme,  a  product  of  the  school  whose  name  she 
bears.  At  the  left,  Ted  Shawn,  and  below,  Ruth 
St.  Denis,  creative  artists,  whose  devotion  to  their  art 
has  made  "Denishawn"  the  recognized  school  of  the 
dance  in  America 


Photo  by  Hoppe 


Page  Forty-Three 


The  Season  of  Symphony 

"Lord,  what  music   hast  thou  provided  for  thy  saints  in  heaven, 
when  thou  affordest  bad  men  such  music  on  earth?" — Isaak  Walton 

By  Ernest  Jerome 


JUST  as  of  yore  all  roads  led  to  Rome,  so  nowadays 
do  all  musical  pathways  lead  to  New  York.  The 
music  makers  of  the  Old  World  need  the  cachet  and, 
still  more  important,  the  cash  of  the  new;  moreover,  they 
are  glad  to  get  away  from  the  storm  and  stress  of  im- 
poverished and  distressful  Europe.  So  they  are  coming 
among  us  "not  in  spies  but  in  battalions." 

In  dealing  with  the  coming  music  season — apart  from 
opera,  which  will  have  separate  attention — the  most  im- 
portant subject  for  consideration  is  the  work  of  the  sym- 
phony societies.  Besides  the  Philharmonic  and  Symphony 
Societies,  New 
York  is  visited 
by  the  Phila- 
delphia and 
Boston  Orches- 
tras, which  give 
a  dozen  con- 
certs each  ; 
while  last  year 
the  metropolis 
was  treated  to 
several  extra 
orchestral  con- 
certs by  Rich- 
ard Strauss, 
whose  place 
this  season  will 
be  taken  by 
Glazounow. 
Altogether  one 
may  count  on 
over  one  hun- 
dred symphony 
concerts  this 
year  as  last. 

This  is  what 
the  French  call 
un  embarras 
de  rich  esse, 
and  yet  experi- 
ence  shows 
that  the  appe- 
tite for  good 
orchestral  mu- 
sic grows  with 
that  on  which 
it  feeds,  and 
that  New 
Yorkers  are  so 
avid  of  it  that 
nearly  all  sym- 
phonic concerts 
are  largely  at- 
tended. Some 
are  packed  to 
the  doors,  not- 
ably those  of 
the  Philadel- 
phia Orchestra, 
which  the  emi- 
nent Stokowski 


WILLEM  MENGELBERG 
The  celebrated  guest-conductor  of  the  New  York  Philharmonic  Society.     His 
commanding   ability   won    world   fame   for   him  when    in    charge    of   the    dis- 
tinguished Concertgebouw  at  Amsterdam 


has  converted  into  the  greatest  instrument  of  its  sort  now 
in  existence ;  this  is  not  my  own  opinion  merely  but 
that  of  some  of  the  most  eminent  Continental  musicians 
who  have  recently  come  to  this  country. 

Last  season  the  Philharmonic,  which  had  absorbed 
several  members  of  the  disbanded  Symphony  Orchestra, 
was  more  or  less  in  a  state  of  flux,  and  the  members  had 
to  get  accustomed  to  one  another  as  well  as  to  their  numer- 
ous conductors,  of  whom  there  were  four — Stransky, 
Bodansky,  Hadley  and  Mengelberg.  Under  the  magnetic 
Dutch  conductor  they  commenced  to  assume  a  homo- 
geneity, a  deli- 
cacy of  nuance 
and  a  sense  of 
climax  which 
were  very  sat- 
isf ying  ;  and 
M  engelberg 
now  and  then 
electrified  his 
audiences. 

The  orchestra 
should  be  in 
even  better 
shape  this  sea- 
son, for  it  has 
had  six  ardu- 
ous summer 
weeks,  or  near- 
ly fifty  per- 
formances un- 
der Hadley — a 
very  good  mus- 
ician but  an 
uni  nspiring 
conductor  — 
and  another 
temperamental 
Hollander,  Van 
Hoogstraten, 
who  is  distinct- 
ly to  be  count- 
ed with.  The 
latter  has 
something  of 
the  Mengelberg 
style  and  tech- 
nique, and  is  a 
considerable 
addition  to 
wielders  of  the 
wand  in  New 
York.  His  in- 
terpretations of 
the  symphonies 
of  Tschaikow- 
skyandFranck, 
and  especially 
of  Brahms, 
were  note- 
worthy. He 
made  a  palpable 


Page  Forty-Four 


SUADOWLAND 


hit  at  the  Stadium 
concerts. 

The  fact  that  Wal- 
ter Damrosch  is  writ- 
ing his  memoirs  might 
seem  to  indicate  that 
he  contemplates  retire- 
ment.   Be  this   so  or 
not,    he    should    have 
an  interesting  story  to 
tell,    extending    as    it 
does  over  nearly  half 
a  century  of  music  in 
New  York.    It  is  the 
habit  of  a  small  clique 
to     sneer    at    Walter 
Damrosch,  which  is  as 
unjust    as    it    is    un- 
grateful,    considering 
the  obligations  under 
which   he  has   placed 
the    musical    com- 
munity  and   the    real 
ability    of    the    man. 
Liberally   aided   by 
Harry  Harkness  Flag- 
ler, he  has  made  the 
New  York  Symphony 
Orchestra  into  a  reallv 
fine    instrument ;    the 
work  it  did  under  Al- 
bert Coates  last  season 
being  particularly  ad- 
mirable.   While  never 
attempting  startling 
interpretations     him- 
self,   Damrosch    may 
be  relied  upon  to  give 
sane    and    significant 
renderings    of    the 
classics,  while  he  has 
shown   himself   liber- 
ally   disposed   toward 

modern  composers,  even  including  the  younger  school  of 
iconoclasts.  His  services  to  opera  have  been  noteworthy. 
Among  the  best  work  Damrosch  has  done,  and  is  still 
doing,  is  educating  the  audiences  of  the  future  by  means 
of  his  weekly  juvenile  symphony  concerts.  Walter  Dam- 
rosch is,  in  fact,  a  great  musical  pedagogue.  As  for  his 
lectures  on  Wagner  and  The  Ring,  they  are  positive  tours 
de  force.  He  seems  to  know  all  the  operas  by  heart,  he  tells 
their  stories,  elucidates  the  motifs  and  plays  salient  pas- 
sages of  the  polyphonic  scores  in  wonderful  fashion;  and 
altho  too  much  Wagner  is  to  me  like  dining  on  nothing 
else  but  roast  goose  a  I'allemand,  I  can  understand  the 
admiration  he  arouses  among  devout  Wagnerites.  I  repeat, 
Walter  Damrosch  is  a  first-class  musician  and  New  York 
owes  him  much. 

When  in  Europe  he  arranged  with  Bruno  Walter,  con- 
ductor of  the  Munich  Opera,  to  conduct  three  concerts 
with  the  Symphony  Society  in  New  York.  Walter  is  only 
second  to  Weingartner  in  fame.  In  1901  he  conducted  the 
Imperial  Opera  in  Vienna,  where  he  remained  twelve 
years.  In  1914  he  succeeded  the  late  Felix  Mottl  as  con- 
ductor and  general  musical  director  at  Munich,  where  the 
finest  opera  in  Germany  is  to  be  heard.  The  Mozart  Cycle 
given  under  his  direction  every  year  in  Munich  attracts 
large  crowds  of  music  lovers  from  all  over  Europe.  Per- 
sonally I  would  rather  Weingartner  had  come,  but  that 
great  man,  when  not  busy  conducting  the  Vienna  Phil- 
harmonic, is  conducting  Wagner  opera  at  Buenos  Aires, 
where  incidentally  he  is  to  produce  an  opera  of  his  own 
this  season. 


LEOPOLD  STOKOWSKI 
Son  of  a  Polish  father  and  an  Irish  mother,  with  an  Oxford  degree.    He  is  world  renowned  as 
the  conductor  of  the  Philadelphia  Orchestra.   The  city  recently  awarded  him  the  Bok  Gift  of 
$10,000  for  doing  the  most  valuable  civic  work  for  Philadelphia 


Monteux  is  pulling  the  Boston  Orchestra  together  in 
surprising  fashion,  for,  thanks  to  the  German  entente, 
led  by  Fradkin,  now  playing  at  the  Capitol  Theater,  it 
almost  fell  to  pieces.  But  the  able  French  conductor  has 
reconstructed  it,  and  it  is  already  getting  back  to  its  best 
form,  which  is  saying  much.  Phillip  Hale  is  enthusiastic 
about  it,  and  surely  he  ought  to  know,  for  there  is  no  better 
informed  or  abler  musical  writer  in  the  country. 

At  the  present  stage  none  of  the  conductors  has  made 
known  the  novelties  he  intends  to  produce.  Josef  Stransky 
has  been  in  Central  Europe  for  some  months,  conducting 
symphony  orchestras  and  festival  performances  of  Wag- 
ner opera  at  Baden-Baden  and  Budapest.  At  the  time 
of  writing  he  had  not  sent  over  his  own  programs,  nor  had 
Mengelberg,  who,  however,  takes  up  the  baton  about  the 
mid-season,  and  does  not  reveal  his  programs  until  he  ar- 
rives. Stokowski,  who  is  in  Europe,  and  also  Albert 
Coates,  are  equally  reserved. 

There  is  reason  for  this,  for,  like  good  Freemasons, 
musical  conductors  have  been  taught  to  be  cautious.  They 
have  found,  when  they  have  announced  some  novelty  in 
advance,  another  conductor  has  jumped  in  ahead,  and  they 
have  had  either  to  withdraw  their  tidbit,  or  give  it  a  second 
or  third  hearing.  If  one  may  be  permitted  to  suggest,  there 
are  some  who  would  like  to  hear  the  works  of  that  modern 
but  sane  and  interesting  Russian,  Medtner,  who  has  re- 
cently been  so  favorably  noticed  by  his  compatriot  and 
contemporary  Rachmaninoff. 

Glazounow's    compositions    we    shall    doubtless    hear 
{Continued  on  page  67) 


Page  Forty-Five 


Punch  who  smiles  so  sweetly  is 
none  other  than  Frueh  himself. 
He  is  considered  one  of  the 
best  caricaturists  in  the  world, 
even  Cappiello  and  San  bow- 
ing before  him.  His  book 
called  "Stage  Folk'"  Caricatures, 
by  Frueh  (Lieber  and  Lewis), 
is  just  off  the  press.  The  cari- 
catures on  this  page  are  lino- 
leum cuts.  Frueh  was  one  of 
the  first  artists  in  this  country 
to   use   the    linoleum   cut 


Nazimova  of  the 
passionate  line 
and  the  Hedda 
Gabler  expres- 
sion shows  what 
Frueh  can  do 
when  he  makes 
up  his  mind  to 
eliminate  un- 
necessary   lines 


The  unforgetable  Dis- 
raeli of  George  Arliss 
looking  out  of  the 
most  expressive  one- 
line    eye    ever    drawn 


We  present 
the  Perfect 
Lover.  Mr. 
Leo  Ditrich- 
stein,  of  the 
self-sufficient 
jaw 


Attach  an  Ameri- 
can flag  to  the  cane 
and  you  will  have 
the  typical  Ameri- 
can. And  who  has 
done  more  to  make 
the  flag  popular 
than  George  M. 
Cohan? 


Page  Forty-Six 


Columette 

A  Fantasy  in  One  Act 

By  J.  Gordon  Amend 


THE  curtain  is  drawn  and  a  garden  is  discovered. 
In  a  sky  of  midnight  blue  a  moon  floods  the  night 
with  its  silvery  luster.  In  the  center  of  the  stage 
and  far  back  there  is  a  pergola  with  slender  white  pillars. 
There  are  blooming  flowers  about  in  profusion  and  here 
and  there  a  bit  of  colorful  shrubbery.  At  the  right  there 
is  a  decorative  marble  seat.  And  at  the  left  there  is  a 
slender  pedestal  with  an  hour-glass  on  it. 

Pierrot  enters  and  comes  down  stage  as  if  looking  ex- 
pectantly for  some  one.  A  few  stray  grains  of  sand 
trickle  thru  the  hour-glass  and  it  is  run.  Impatiently  he 
regards   it.     A    silvery   bell    in   the   distance   marks   the 

quarter  hour.  _, 

Pierrot : 

It  is  but  the  quarter  hour  and  the  glass  has  again  run 
its  course.  I  will  set  it  for  her  coming.  (He  turns  the 
hour-glass  upside  down.)  And  when  you've  trickled 
thru  but  once,  my  tiring  vigil  is  kept.  Oh,  heavy  laden 
hours  that  bear  my  impatience  so  meanly — until  tonight 
— when  love  itself  is  lost  in  the  very  silence  of  the 
shadows — to  waken  again  to  a  fuller  life  in  its  glorious 
dawn. 

[In  the  distance  music  is  heard — and  a  voice  singing, 
Slozvly  the  words  become  intelligible.] 

The  song — 

Ah,  verdant  is  love  in  its  glorious   spring, 

Milade,  Milade, 
When  days  of  gold  splendor  their  radiance  fling, 
But  that's  not  the  shade  of  the  blossoms  I  bring, 

Milade. 
Red  is  the  warmth  of — — 

[Enter  Punchinello,  with  a  musical  instrument  about 

his  neck.]  _. 

Pierrot : 

Greetings,  Punchinello. 

Punch : 
To  you — greetings,  Pierrot. 

Pierrot : 
And  why  are  you  abroad  at  such  an  hour  of  the  night 
— and  singing  a  love  song  too  ? 

Punch : 
It  is  spring  and  all  men  love  in  the  spring. 

Pierrot : 
And  do  you  expect  to  find  the  lady  here  in  the  wood? 
Perhaps  you  have  come  to  woo  a  moonbeam? 

Punch : 
A    moonbeam — No.     They    are    much    too    pale,    and 
dance  till  but  the  first  gleams  of  the  sun  put  them  to 
flight.     But,  Pierrot,  I  hear  that  in  yonder  dale  by  the 
waterfall  there  lives  a  forest  nymph. 

Pierrot : 
I  have  heard  it  so  myself. 

Punch : 
And    each    night    her    handmaids    fold    the    waterfall 
about  her  as  a  bridal  veil  and  there  she  waits  for  her 
lover.    To  yonder  dale  I  go — to  woo  the  forest  nymph. 


Pierrot : 
May  good  fortune  be  your  companion. 

Punch : 
And  how  may  it  be,  Pierrot,  that  you  happen  to  be 

here  in  the  garden  ?        _ 

Pierrot  : 

I  ?     Oh — I,  too,  am  on  love's  errand.     Tonight  I  wait 
for  her  who  on  the  morrow  plights  her  faith  with  mine. 

Punch : 
The  wedding  eve  it  is  then.     Ah — Pierrette — 

Pierrot : 
No,  it  is  not  Pierrette — not  just  Pierrette. 

Punch : 
I  do  not  understand.     Then  Columbine — 

Pierrot : 
No,  nor  just  Columbine.    Come  sit  here  by  me,  Punch- 
inello, and  I  will  tell  you  the  story. 
[Pierrot  sits  on  the  marble  bench.] 

Punch : 
(Carelessly  sitting  cross-kneed  on  the  ground  by  the 
bench.)     My  ears  feign  not  their  curiosity. 

Pierrot : 
It  happened  this  way.  With  all  my  heart  I  love  Pier- 
rette— and  she  loves  me  as  well.  When  I  walk  with  her, 
her  bit  of  a  hand  in  mine,  I  have  no  thought  for  anyone 
but  her.  And  when  she  smiles — Ah,  Punchinello,  I  see 
the  light  of  stars  in  her  lovely  eyes.  When  she  is  with 
me,  it  is  all  very  well — but  so  short-lived  is  her  spell.  No 
sooner  have  her  amorous  words  been  whispered  than 
they  blow  by  me  like  leaves  in  the  chill  November  wind. 
I  want  Pierrette  only  while  she  is  by  my  side. 

Punch : 

And  some  men  there  are  who  would  die  but  for  one 
favored  word  from  her  lips. 

Pierrot : 
And  upon  me  she  has  showered  them.  It  is  pleasur- 
able to  be  sure  to  listen  to  them,  but  at  times  they  grow 
wearisome  with  their  entreating.  Loved  words  are  much 
like  the  jasmine  blooms — a  little  of  them  and  love  is  all 
the  sweeter,  but  overmuch  of  them  and — oh — their  pro- 
fuseness  is  oppressive. 

Punch : 
Not  all  would  agree  with  you  there,  Pierrot. 

Pierrot : 
It  is  likely,  Punchinello,  it  is  very  likely.  A  mere  lov- 
er's desires  may  differ  greatly  from  Pierrot's.  Pierrot  is 
the  great  lover  of  all  ages.  Pierrot  does  not  seek.  He 
is  sought !  It  is  little  wonder  that  he  tires  by  times  of 
woman's  whimperings. 

Punch : 
But  surely  you  do  not  dare  to  call  the  impassioned 
words  of  Pierrette  whimperings? 

Pierrot : 
Surely  I  do — not  Pierrette's  more  so  than  those  of  all 


Page  Forty-Seven 


SuADOWLAND 


women  to  be  sure- 
truly 


-perhaps  a  little  less,  for  Pierrette  is 
Punch : 


Yes? 

Pierrot : 
Charming.     I  delight  in  her  whimsies.     She  is  so  deli- 
cately feminine — and  if  there  is  one  virtue  I  worship  in 
women  it  is  that.     Her  hair — have  you  ever  touched  it, 
Punchinello? 

Punch : 
It  has  not  been  my  pleasure. 

Pierrot : 
Sometimes  I  fancy  that  a  spinner  in  the  sun  must  by 
some  cunning  magic  have  caught  a  vagrant  sunbeam  and 
plucked  its  golden  luster  for  her  crown.  It  falls  about 
her  shoulders  like  a  shower  of  the  late  afternoon  sun- 
shine.    And  her  eyes — Oh,  Punchinello,  they  are 

Punch : 
Blue. 

Pierrot : 
Not  just  blue,  Punchinello,  but  something  infinitely 
bluer.  Sometimes  they  are  like  the  night  sky — deep, 
foreboding — where  I  do  read  passing  strange  affairs — 
and  then  again  they  dance  like  fringed  gentian  on  a  rug- 
ged shore. 

Punch : 
It  seems  to  me  your  heart  bespeaks    Pierrette   quite 
fondly. 

Pierrot : 
Oh,  it  does — after  a  fashion.  I  like  to  have  her  about 
me  as  one  desires  a  flower — a  song — or  a  sunset.  But — 
Oh-hum ! — she  talks  of  a  fireside  and  homey  evenings 
and  spoils  it  all.  There  is  nothing  so  wearisome  to  Pier- 
rot as  domestic  felicity. 

Punch : 
But  she  loves  you,  Pierrot,  and,  loving  you,,  perhaps 
she  dreams  of  a  little  white  cottage  with  a  winding  path 
up  to  the  doorway  and  ragged  robins  blooming  about. 

Pierrot : 
Of  course  she  does.     She  loves  me  as  much  as  she  is 
capable — that  is,  as  much  as  Pierrette  can  love  anyone. 
But  that  is  just  the  trouble,  Punchinello — Pierrot  must 
have  more  than  the  mere  gifts  of  Pierrette. 

[Pierrot  gets  up  and  crosses  to  the  hour-glass,  regard- 
ing it  impatiently.  During  the  ensuing  conversation  Pier- 
rot divides  his  attention  between  the  glass  and  Punch- 
inello.] 

Punch : 

Then  it  is  not  Pierrette  with  whom  you  plight  your 
troth  on  the  morrow.     You  spoke  of  Columbine 

Pierrot : 

Ah,  Columbine — there  of  a  certain  is  a  wisp  of  divin- 
ity. I  love  her,  too,  with  all  my  heart — and  of  course 
she  loves  me  in  return.  When  she  dances  with  her  leaf- 
brown  tresses  blowing  in  the  wind  and  bids  me  catch  her, 
Pierrot  knows  for  the  instant  love — but  once  she's  caught 
and  held  within  the  circle  of  my  heart  her  lure  is  van- 
ished as  by  magic.  To  want  Columbine  is  enticing — to 
have  her  is  like  possessing  a  coveted  rose  only  to  find,  its 
fragrance  wanting. 

Punch : 

Many  are  the  men  that  worship  at  her  feet. 

Pierrot : 

It  is  very  true,  but  in  return  for  all  their  entreaties 

Columbine  worships  at  the  feet  of  Pierrot.     Her  love  is 

a  wayward  sort  of  fancy  that  I  like  to  have  about  me — 

it  satisfies  a  certain  whim  of  mine.     I  can  little  think  of 


life  without  her  wilful  caprices — nor  with  them,  to  bs 
sure.  I  love  to  hear  her  sing — have  you  ever  heard  her 
sing,  Punchinello? 

Punch : 
Yes,  I  heard  her  singing  in  the  wood  one  night  and  I 
thought  myriad  songbirds  made  the  merry  tune. 

Pierrot : 
It  is  always  so  with  Columbine — her  life  from  every 
dawn  to  shadowtime  is  just  a  song.  Once  I  spoke  to 
her  of  the  morrow,  and  she  bid  me  silence  and  told  me 
that  tomorrow  was  not  yet  born  until  today  had  died. 
Her  impudence  is  delightful,  but  at  times  it  irritates  me 
greatly.  If  she  should  wish  to  flirt  with  all  the  knaves 
on  the  countryside  she'd  do  it,  but  when  I  fondle  Pier- 
rette she  flies  into  a  rage  that  I  must  pet  her  from. 

Punch: 
Jealousy,  my  dear  Pierrot,  is  the  rightful  heritage  of 
all  women.     Used  well  it  becomes  a  virtue,  used  poorly 
and  it  is  an  abomination. 

Pierrot : 
I  do  not  agree.  It  is  entirely  too  dangerous  a  weapon 
for  the  hands  of  woman.  Man  was  made  to  be  the 
master  in  all  affairs,  woman  merely  to  amuse  him  when 
he  tired  of  worldly  vieing.  No,  I  cannot  countenance 
this  selfishness  in  Columbine. 

Punch : 
Then  it  is  not  with  Columbine  that  you  plight  your 
troth  on  the  morrow  ? 

Pierrot : 
I  am  betrothed,  my  dear  Punchinello,  to  both  Pierrette 
and  Columbine ! 

Punch : 
You  are — Oh,  surely  it  is  that  my  ears  deceive  me. 

Pierrot : 
If  they  hear  that  I  swear  my  vows  to  both  Pierrette 
and  Columbine,  then  they  have  heard  well. 

Punch : 
It  cannot  be !     I  do  not  apprehend ! 

Pierrot : 
I  will  tell  you,  Punchinello,  how  it  is.  With  all  my 
heart  I  love  both  Pierrette  and  Columbine — Pierrette,  be- 
cause to  Pierrot  she  is  as  the  very  sunshine  to  the  flower 
itself,  akin  as  are  the  summer  breezes  to  the  showers  of 
spring — Columbine,  because  she  is  no  less  to  Pierrot  than 
is  to  the  nodding  roses  the  sparkling  dew  that  nightly 
kisses  them  to  their  shadow  rest.  The  one  with  the  other 
— both — mean  contentment  for  my  every  hour — the  one 
without  the  other  and  my  happiness  is  out  of  season. 

Punch : 
Did  you  tell  that  to  both  Pierrette  and  Columbine? 

Pierrot : 
Of  course  I  did  to  each  in  turn  and  each  devoutly 
vowed  she  could  not  live  without  me,  could  not  live  nor 
did  not  care  to  live.  Pierrette  declared  that  days  with- 
out her  name  upon  my  lips  would  be  as  night  times  and 
that  her  soul  would  soon  be  lost  in  darkness.  And 
Columbine  averred  my  kisses  on  her  lips  brought  forth 
her  song.  Should  I  deny  them,  then  her  very  heart 
would  break  with  sorrow.  Between  the  two  I  could  not 
well  decide.  By  morning  should  I  firmly  vow  that  it  was 
Pierrette  alone  I  loved,  by  night  I'd  be  as  sure  that  it  was 
Columbine.  And  there  I  was  no  nearer  to  my  disen- 
tanglement. ^ 

Punch : 

Indeed  it  was  a  pretty  problem. 

(Continued  on  page  70) 


Page  Forty-Eight 


The  Managers  of 
the  Managers 


The  Wifes  ot  Our  Prominent  Producers  Find 

Time  to  Reap  a  Few  Laurels  of 

Their  Own 


Photo  bv  Lewis-Smith.  Chicago 


JANE  COWL 
The  April  Lady, 
having  laughed 
and  wept  her  way- 
thru  two  successful 
years  in  "Smilin' 
Through,"  is  to  ap- 
pear this  season  in 
a  new  play.  She  is 
the  loveliest  ex- 
ample of  the  judg- 
ment and  good 
taste  of  Adolph 
Ktauber 


KATHERINE 
CORNELL 
Two  of  the  bright- 
est spots  on  the 
bleak  horizon  of 
the  past  theatrical 
season  were  those 
twin  lights,  Mr. 
end  Mrs.  Guthrie 
McClintock:  the 
first  with  his  fault- 
less production  of 
"The  Dover  Road," 
the  second  with 
her  unforgetabl? 
performance  in 
"The  Bill  of  Di- 
vorcement" 


BILLIE  BURKE 
A  feminine  Peter  Pan 
who  in  her  own  de- 
lightful self  glorifies 
the  American  girl  just 
as  successfully  as  does 
her  husband  in  his  re- 
vues. We'll  give  you 
three  guesses  as  to  the 
name  on  her  visiting 
cards 


Photo  by  Ira  L.  Hill 


IRENE  BORBONI 
One  French  Loan  that  nobody 
wants  to  cancel!  One  "French 
Doll"  that  everybody  wants  to  take 
home!  A  worthy  successor  in 
every  particular,  including  eyes, 
to  the  croivn  of  Anna  Held.  And, 
in  case  you're  one  of  the  three 
people  who  doesn't  know  it,  the 
wife  of  E.  Ray  Goetz 


Photo  by  Edward  Thayer  Monroe 


Page  Forty-Nine 


1 


The  Theatrical  Menu 

At  Times  in  Danger  of  being  Spoiled  by  too  many  Cooks  and  too  many  Courses 

By  Reita  Lambert 


A  T  this  time  of  year  the  theatrical  season  reminds 
/_%  one  of  nothing  so  much  as  a  French  pot-au-feu 
J.  JL.  freshly  made  and  with  every  member  of  the 
household  contributing  something  from  his  particular  pref- 
erence. This  confused  state  of  affairs  invariably  obtains 
every  autumn. 

"Ha !  A  new  season !"  cries  the  world  after  an  arid 
summer  diet  at  seashore  and  mountain  resort ;  and  all  the 
little  would-be  playwrights  along  with  the  regular,  sure- 
enough  playwrights,  and  Mr.  Baker's  Forty-seven  Work- 
shop men  and  those  ambitious  people  who  always-believed- 
they-could-write-a-play-if-they-only-had-the-time,  flock  to 
Broadway  with  their  brain  children  tucked  under  their 
arms  and  chaos  results. 

The  newspapers  help  along  the  situation  by  printing 
lengthy  announcements  of  various  managers'  plans  for  the 
coming  season,  because  genuine  news  is  so  scarce,  when 
it's    perfectly 

obvious  on  the       -  5*5™.^.--,  -  **■■*****- *~ h-*-  sL**msmi. 

surface  that  if 

all  the  plays 

announced 

were  actually 

produced,  there 

would  have  to 

be  a  first  night 

every  night,  and 

the   dramatic 

critics  would  be 

receiving   their 

breakfast  trays 

thru  the  bars  in 

the  doors   of 

their   padded 

cells. 

Of  course  at 
this  time  the 
activity  along 
the  rialto  would 
actually  seem 
to  indicate  that 
the  managers 
are  doing  their 
best  to  live  up 
to  their  fervid 
promises,  and 
new  plays  are 
as  thick  as 
movie  censors 
in  Hollywood. 
B  y  Christmas 
time  the  theat- 
rical menu  will 
be  a  nicely  bal- 
a  n  c  e  d  affair 
with  the  proper 
number  of  cal- 
ories and  vita- 
mines  to  make 
it  digestible  and 
nourishing.  But 
just  at  present 
it    takes    a 


sturdy  digestive  apparatus  to  partake  of  the  heterogeneous 
fare  without  fatal  results. 

Tragedies,  comedies,  farces  and  so-called  "revues"  are 
served  up  regardless  of  order,  and  the  result  is  like  nothing 
so  much  as  a  public  banquet  where  you  hardly  have  a 
chance  to  taste  one  course  before  the  waiter  whisks  it 
away  and  brings  on  the  next  one. 

"Pinwheel"  was  like  that — offered  in  the  early  summer 
at  the  Earl  Carrol  Theater  with  Raymond  Hitchcock  and 
one  or  two  other  fami'iar  names,  it  was  whisked  away  only 
to  reappear  the  other  day  at  the  Little  Theater  minus  Mr. 
Hitchcock  or  any  other  helpful  condiment,  and  pretty 
tasteless  as  a  result.  "Pinwheel"  might  serve  as  an  object 
lesson,  to  all  embryo  producers  of  "revues,"  of  what  a 
revue  should  not  be.  A  second  glance  at  the  program  re- 
veals the  fact  that  it  is  not  called  a  revue  but  a  "revel." 
Neither  of  these  captions,  however,  describe  it.  "Pin- 
wheel"   is    a 

bore  —  plain 

and  simple.  Its 
main  attraction 
is  a  young  wo- 
rn a  n  named 
Ernita  Enters. 
She  does,-  and 
if  her  perform- 
ance is  marked 
by  an  over- 
abundance of 
"pep,"  her  sar- 
torial inadequa- 
cies  effect  a 
nice  balance. 
There  is  one 
amusing  num- 
ber which  suc- 
ceeds in  pene- 
trating the  en- 
nui of  the  au- 
dience, and  this 
is  a  burlesque 
classic  dance 
by  the  male 
members  of 
the  company, 
headed  by 
Michio  Itow, 
who,  by  the 
way,  is  sponsor 
for  the  enter- 
tainment. 

The  strain  on 
the  new  plays 
is  a  bit  more 
trying  than 
visual  this  sea- 
son, as  there 
are  more  than 
the  normal 
number  of  last 


Special  study  by  Maurice  Goldberg 

Florence  Eldrige,  who  under  the  management  of  A.  H.  Woods, 
is  appearing  in  Somerset  Maugham's  new  play,  "East  of  Suez" 


year  s  successes 
held  over,  with 
which    they 


Page  Fifty 


SuiADQWLAND 


have  to  compete.  There  is,  for  example,  "Kempy,"  that 
delightful,  ingenuous  and  wholly  American  little  play  at 
the  Belmont.  Then  there  is  that  ingratiating  little  gamin 
"Kiki"  with  Miss  Ulric  at  the  Belasco.  It  would  be  a 
fairly  safe  guess  to  say  that  these  two  will  be  causing 
the  same  trepidation  among  next  year's  new  offerings  as 
they  are  among  this  year's.  "Good  Morning  Dearie" 
still  holds  forth  at  the  Globe  with  no  prospect  of  an 
immediate  move,  and  "Strut   Miss   Lizzie,"  the  colored 


Photo   by    Edwin    Bower   Hesser 

revue,  has  done  for  the  Earl  Carrol  Theater  what  its 
unique  innovations  in  lighting  and  its  rising  orchestra 
failed  to  do  for  itself. 

"Partners  Again,"  produced  last  May,  is  still  con- 
vulsing its  audiences  at  the  Selwyn,  and  is  probably 
the  best  Potash  and  Perlmutter  episode  that  the 
Messrs.  Glass  and  Goodman  have  recorded. 
"Chauve-Souris"  lingers  on  at  the  Century  Roof,  the 
only  entertainment  of  its  sort  that  New  York  has 
ever  had  the  pleasure  of  seeing.  The  charming 
Milne  piece,  "The  Dover  Road,"  promises  to  round 
out  a  full  year,  which  would  mean  that  we  could 
take  the  girls  to  see  it  when  they  are  home  from 
Vassar  for  the  Christmas  holidays.  "Blossom  Time," 
the  operetta  based  on  the  life  of  Franz  Schubert, 
and  with  the  composer's  own  melodies  lending  veri- 
similitude to  the  story,  is  back  from  a  summer 
vacation  for  another  run  at  the  Ambassador. 

So  much  for  the  left  overs.  The  new  additions  to 
the  pot-au-feu  include  a  couple  of  new  musical  pro- 
ductions; "Spice  of  1922"  at  the  Winter  Garden 
with  the  engaging  Adele  Rowland  as  the  only  justi- 
fication for  its  existence  unless  one  counts  the  pres- 
ence of  a  good  deal  of  feminine  beauty,  startlingly 
unencumbered  as  to  costumes.  "Sue  Dear,"  another 
new  musical  piece,  opened  at  the  Times  Square  on 
July  tenth  and  may  close  at  any  moment. 
{Continued  on  page  66) 


.Photo  by    Edwin   Bower  Hesser 


(Above)  Anne  of  the  "Scandals."  The  Pennington  is  no  longer 
necessary.  Mary  Eaton  (at  the  left)  still  supporting  the  "Follies" 
on  her  toes,  while  waiting  for  the  new  play  Flo  Zeigfeld 
is  going  to  star  her  in.  And  Ethelinda  Terry  (below) 
whose    voice    is    recorded    so    sweetly    by    the    "Music    Box" 


Photo  by  Edwin  Bower  Hesser 
Page  Fifty-One 


"SEVEN  JUGS" 

By  Remick  Neeson 
First  Prize 
This  is  an  example  of  an  almost  perfect  circular  composi- 
tion  in  which   the  contour  of  the  jugs  are  echoed  in  the 
curve  of  the  stairs  and  re-echoed  in  the  curving  baseboard 


Page  Fifty-Two 


The 
Camera 
Contest 


THE  camera 
studies  that 
have  won  this 
month's  prizes  are 
particularly  lovely. 
Each  month  it  seems 
to  grow  more  difficult 
for  the  judges  to 
make  their  final  de- 
cision. Amateurs  from 
all  over  the  world  are 
becoming  interested 
and  entries  are  pour- 
ing into  the  Art  Cen- 
ter. Last  month  a  pic- 
ture  from  Amalfi, 
Italy,  won  the  second 
prize,  and  this  month 
there  were  entries 
from  Shanghai  and 
Holland. 

Amateurs    seem    to 


"EAST  RIVER,  NEW  YORK" 

By  John  Wallace  Gillies — Second  Prize 

"East   River"   is   the   antithesis    of   "Seven    Jugs."     It    is   a    composition    of   verticals   and   horizontals. 

Notice  how  the  mast  at   one  end  and  the  smokestack  at  the  other  break  the  diagonal  line 

of  the  bridge  and  strengthen   the  composition 


be  realizing  more  and  more  that  the  field  of 
photography  has  limitless  possibilities  for  artistic 
expression.  Like  an  artist,  a  true  photographer 
has  an  artistic  vision  of  his  picture  before  he 
even  thinks  of  his  camera. 

A  photographer,  truly  in  love  with  his  art,  will 
spend  days  studying  a  scene  with  its  varying 
shadows  and  how  the  composition  is  improved  or 
marred  by  them.  He  must,  as  well,  thoroly  align 
his  angles.  Like  any  art,  photography  takes 
patience  as  well  as  an  artistic  sense  if  good  re- 
sults are  to  be  achieved ;  also  there  must  be  a 
certain  ground-work  in  the  fundamentals  of  the 
craft.  To  the  development  and  strengthening  of 
that  ground-work  Shadowland  will  discuss 
each  month  some  point  in  photography  that  will 
interest  and,  we  hope,  benefit  the  amateur. 

It  is  a  generally  acknowledged  fact  that 
shadows  not  only  lend  interest  to  a  picture  but 
also  act  as  agents  unifying  and  rounding 
out  the  composition.  Too  much  importance  can- 
not be  attached  to  their  proper  use.  It  is  well 
worth  the  time  and  effort  expended,  if,  after 
having  chosen  the  subject  to  be  photographed,  you 
spend  a  day  studying  the  shadows,  until  you  find 
the  exact  time  when  they  most  improve  the  com- 
position; this  of  course  applies  to  nature  pho- 
tographs. The  value  of  a  shadow  depends  on  its 
intelligent  selection.    Not  all  shadows  are  desir- 

"OLIVE" 

By  Mrs.  Antoinette  B.  Hervey 
Third  Prize 

Mrs.  Hervey,  who  submitted  this  delightful  portrait, 
did  not  take  up  photography  until  she  was  a  grand- 
mother. The  sympathetic  relationship  between  model 
and  gown  shows  that  Mrs.  Hervey  has  the  eye  of  a 
true  photographer 


Page  Fifty-Three 


Si-l4DOWLAND 


analyze  their  composition  and  decide 
what  made  them  prize-winning  pho- 
tographs. And  you  will  find  if  you 
do  analyze  them  that  shadows  play 
an  important  part  in  their  make-up. 

The  prize-winning  photographs 
were  selected  this  month  by  Mr.  E. 
V.  Brewster,  Mr  Nicholas  Muray, 
the  portrait  photographer,  and  Miss 
Sophie  L.  Lauffer  of  the  Photo- 
graphy Department  of  the  Brooklyn 
Institute. 

First  prize. — "Seven  Jugs."  Re- 
mick  Neeson,  216  West  Lanval 
Street,  Baltimore,  Maryland. 

Second  prize. — "East  River,  New 
York."  John  Wallace  Gillies,  80 
West  40th  Street,  New  York  City. 

Third  prize.— "Olive."  Mrs. 
Antoinette  B.  Hervey,  351  West 
114th  Street,  New  York  City. 

Special  five  dollar  prize. — "The 
Brook."  Frank  M.  Hohenberger, 
Nashville,  Indiana. 

Honorable  mention. — "A  Maine 
Fishing  Village."  Eugene  P.  Henry, 
137  Joralemon  Street,  Brooklyn, 
New  York. 

Monthly  prizes  of  at  least  $25, 
$15,  and  $10  are  awarded  in  order  of 
(Continued  on  page  69) 


"A    MAINE    FISHING    VILLAGE" 

By  Eugene  P.  Henry 
Honorable  Mention 

The  Honorable  Mention  that  Mr.  Henry 
received  in  July  was  for  a  study  of  the 
soft  trees  of  early  evening;  this  time  his- 
composition  is  quite  different.  It  is  a 
study  of  vertical  lines  and  angles.  Even 
the  low  grass  stalks  at  the  side  of  the 
road  keep  to  the  lines  of  his  composition! 


"THE   BROOK" 

By  Frank  M.  Hohenberger 

Special  Prize 

In  this   camera  painting,   the  photographer  has   caught   perfectly  the 

texture  of  the  snow,  and  even  the  slush  beside  the  rocks  looks  very 

wet.     The  picture  was  taken  at  ten   o'clock  in  the  morning.     This  is 

rather  good  proof  of  the  contention  that  pictures  taken  before  eleven 

and  after  three  usually  give  the  best  results 

able,  their  usefulness  depending  on  their  size  and  character. 
Generally  speaking,  the  best  results  can  be  obtained  before  or 
after  the  sun  crosses  the  meridian,  sometime  before  eleven  or 
after  three  is  perhaps  best.  A  shadow  properly  placed  can  be 
used  to  break  the  monotony  of  a  landscape,  or  to  break  a 
bare  space  in  a  long  stretch  of  road,  or  it  can  be  used  to  bind 
together  individual  objects  and  masses.  Think  of  a  photograph 
of  a  single  tree  and  how  really  uninteresting  it  can  be ;  while 
if  it  has  a  well-placed  shadow  it  becomes  a  pleasing  com- 
position. 

In  taking  portraits,  a  face  that  is  lighted  by  a  light  so 
intense  that  the  nose  casts  a  deep  shadow  across  the  mouth 
is  apt  to  be  grotesque,  and  in  any  case,  it  is  not  artistic.  The 
direction  of  the  light  should  be  changed  or  its  intensity  should 
be  modified ;  modified  and  well-directed  light  will  produce 
shadows  that  give  the  effect  of  a  Rembrandt  to  a  composition, 
but  it  takes  time,  study,  and  great  patience  in  the  model  be- 
cause her  pose  and  the  lighting  must  be  arranged  innumerable 
times. 

It  would  be  an  excellent  thing  to  do  to  take  the  prize- 
winning  pictures  in  each  issue  of   Shadowland  and  try  to 


Page  Fifty-Four 


Three 

Sapient 

Satirists 


<U)  E    O.  Hoppe 


STEPHEN  LEACOCK 


"My  Discovery  of  England"  is  Mr.  Leacock's  latest 
contribution  to  Higher  Education.  When  Mr. 
Leacock  is  at  home,  he  is  called  Professor  and 
occupies  desk  space  at  McGill  University.  He  is 
also  the  example  of  the  theorem  which  states  "All 
teachers  of  mathematics  should  be  humorists" 


Photo  by  E.   O.   Hoppe 


Behold  the  father  of  Archy,  the  lower- 
case essay  writer  of  the  "Sun  Dial."  Mr. 
Marquis'  other  child,  "The  Old  Soak," 
has  deserted  the  city  room  of  the  New 
York  "Tribune"  and  is  now  appearing  on 
Broadway.  On  the  right  is  Don's  great 
friend,  sometimes  known  as  the  "Great 
Unpublished,"  but  Benjamin  de  Casseres 
is  now  living  down  the  title;  his  book 
"Chameleon,  the  Book  of  Myselves,"  came 
from  the  press  in  August.  If  the  ninety 
per  cent,  understand  it,  eleven  more  of 
his  works  will  come  out  and  the  Editorial 
Staff  of  Paramount  Films  will  have  a 
famous  author  in  their  midst 


Courtesy   Paramount   Films 


Page  Fifty-Five 


:°«c-ro 


Life's  span  is  brief 


Dreams  ....  fond  belief 


An  Old 
French  Song 

Drawings  by  Leo  Kober 


And  then — good  day! 


Of  love  a  ray 


Page  Fifty-Six 


\ 


La  vie  est  breve 
Un  peu  de  reve 
Un  peu  d'amour 
Et  puis — bon  jour! 

La  vie  est  vaine 
Un  peu  de  haine 
Un  peu  d'espoir 
Et  puis — bon  soir! 


With  hate,  with  strife! 


Ah,  vain  is  life 


% 


V;; 


Hope1  looms  up  bright 


But  then — good  night! 


Page  Fifty-Seven 


Photo  by  Edwin  Bower  Hesser 


LUCIEN   MURATORE 

//  Signor  Muratore  joins  the  Opera  National  in 
Paris,  as  a  persistent  rumor  has  it,  the  Chicago 
Opera  Company  will  lose  not  only  a  marvelous 
tenor,  but  a  striking  and  forceful  personality  as  well 


Page  Fifty-Eight 


Variety  in  Applied 
Design 


Courtesy  of  Cartier  et  Cie 


"Au  Singe  Violet"  was  the  sign  which  swung 
over  the  Paris  shop  of  Biennais,  jeweler, 
from  whom  Napoleon  ordered  the  solid  sil- 
ver service  to  which  the  dish  above  belongs. 
Unfortunately,  for  him,  Waterloo  intervened 
before  he  could  use  it.  It  passed  thru  vari- 
ous royal  hands  until,  in  the  middle  of  the 
nineteenth  century,  it  came  into  the  pos- 
session of  the  Count  de  Chambrun.  It  re- 
mained in  the  de  Chambrun  family  until 
purchased  recently   by  Cartier 


Courtesy  Artes  e   Industries   Regiones   Portuguessas 


The  Peniche  lace,  which  so  delicately 
attaches  itself  to  the  gold  filigree 
sticks  of  this  Portuguese  fan,  took 
over  a  year  to  make.  It  is  pillow-lace 
and  many  hundred  tiny  bobbins  were 
used.   The  fan  is  valued  at  $  1,000 


Courtesy  Artes  e   Industries   Regiones   Portuguessas 


This  unusual  tea  service 
is  the  work  of  a  young 
artist  of  the  Vienna 
Wiener  W  erkstaette,  who 
modestly  signs  it  A.  M.  S. 
The  design  is  exceedingly 
simple  and  graceful.  A 
brilliant  green  handle  on 
the  teapot  gives  an  added 
note  of  interest 


Courtesy 

Wiener 

Werkstaette 


The  soft,  rosy-grey  finish  on 
the  beaten  and  pierced  sil- 
ver, plate  and  candelabra, 
is  obtained  by  the  use  of 
some  chemical  which  is 
blown  on  with  great  force. 
The  secret  is  carefully  guard 
ed  by  the  Basques  by  whom 
it  is  made 


Page  Fifty-Nine 


The  big  barn,  cleared  and  rebuilt  and  gaily  decorated  with  blue-and- 

white    cross-barred    ginghams,    which    serves    as    the    central    studio 

of  Mariarden 


4S  Bath  is  to  old  England — typifying  a  charm  and  an 
/\  innate  culture  that  cannot  die — so  is  Peterborough 
JL  jL.  to  New  England.  Save  that  the  New  Hampshire 
town  does  more  than  merely  represent  nearly  two  centuries 
of  a  quiet  but  exceedingly  virile  Americanism.  Today  it  has 
come  to  be  the  theater  of  a  decided  movement  forward  in 
the  arts.  From  being  a  quiet  village  of  New  England  tra- 
ditions and  New  England  good  taste  it  has  entered  into  the 
very  forefront  of  American  cultural  progress.  It  not  only 
looks  forward,  but  it  steps  forward — not  too  rapidly  but 
with  a  gait  of  easy  assurance,  and  of  a  real  determination. 
Yet  it  remains,  as  it  has  been  for  more  than  one  hundred  and 
fifty  years  past,  a  gentle  New  England  town  remembering 
full  well  its  forebears  and  the  debt  that  it  owes  to  them. 

On  the  one  side  Monadnock  Mountain  rises  and  on  the 
other,  the  long  ridge  of  Pack  Monadnock ;  in  the  village, 
variously  called  East  Mountain  and  Temple  Mountain. 
Neither  of  these  really  deserves  to  be  called  a  mountain. 
Both  are  squarely  crossed  by  the  state  highwa_  s.  Yet  no 
matter  how  stout  your  car,  or  how  sturdy  her  engine,  she  is 
pretty  sure  to  pant  a  bit  before  she  reaches  the  summits. 
"Air  pockets,"  the  natives  call  them,  but  the  fact  remains  that 
the  grades  too  are  stiff.  Yet  Peterborough  would  gladly 
yield  that  every  grade  around  about  her  be  as  stiff  as  Jacob's 


Hand  in  Hand  Go 

Culture  and 

Tradition 

In  Peterborough,  Which  has  Come    to   Regard 
Itself  as  a  Real  Theater  ot  all  the  Arts 

By  Edward  Hungerford 


The  shadows  of  the  branches  are  doing  their 
best  to  simulate  flagstones  on  this  quaint  old- 
fashioned  path  at  the  colony 


Ladder,  rather  than  have  even  one  of 
her  beloved  mountains  ever  taken  away 
from  her. 

"See  old  East  Mountain  this  morn- 
ing?" said  the  night  clerk  of  the  hotel 
to  me  at  dawn,  as  I  was  hastening  off 
to  take  the  early  train  to  Boston.  "See 
that  last-minute  cloud  a-hanging  on  its 
face?  A  fair  day  sure  enough.  A 
month  of  rain — an  hour  of  sunshine — 
crisp  sky  and  then  these  old  mountains 
of  ours  are  almost  near  enough,  it  seems 
to    me,    to    be   touched    with    the    out- 


The  interior  of  the   fine,  red  brick  meeting- 
house which  in  1885  Bulfinch  came  up  from 
Boston  to  build 


Page  Sixty 


SuiADOWLAND 


stretched  hand.  That's  why  I'm  up  here — and  not  down 
in  Boston  town." 

He  fell  to  telling  me  of  the  year  that  he  had  spent  in  the 
big  city.  For  a  time  it  had  fascinated  him ;  its  infinite 
array  of  sights  and  sounds.  Suddenly  he  had  sickened  of 
it  all.  He  longed  for  the  home  of  his  fathers — Peter- 
borough and  the  mountains  forever  standing  grimly  sentinel 
over  it.  For  thoughts  of  home  he  could  not  sleep  at  night. 
The  countryman  in  him  simply  would  not  become  towns- 
man. .    .    .     And  so  he  returned. 

I  could  understand  him  perfectly.  His  love  for  Pete- 
borough — Peterborough  set  in  among  the  granite,  green 
hills  and  yet  high  atop  them.  Walk  out  in  any  direction 
from  the  town ;  to  the  nearest  point  of  vantage.  You  look 
off  afar  as  if  you  were  looking  from  some  masthead  across 
the  top  of  a  billowy  sea.  Only  instead  of  wavecrests,  hill- 
crests.  Hillcrests  blanketed  in  the  rich  green  verdure  of 
our  New  England.  .   .    . 

Such  is  the  setting  of  this  New  Hampshire  town.  The 
village  itself  justifies  its  vicinage.  For  once  man  seemingly 
has  done  his  best  to  show  his  appreciation  of  the  surround- 
ings that  God  has  given  him.  Peterborough  was  founded  in 
1738.  Its  first  church  was  built  in  1752  and  is  quickly  dis- 
missed by  local  historians  as  being  unworthy  of  remem- 
brance. But,  in  1825,  Bulfinch  came  up  from  Boston  and 
there  under  the  shadow  of  Pack  Monadnock,  built  the 
fine  red-brick  meeting-house  that  has  been  the  town's  joy 
and  pride  from  that  day  until  this.  Such  slenderness  of 
outline,  such  sturdiness  and  stability  as  it  stands,  four- 
square to  the  village  street  and  lifts  its  belfried  spire  high 
above  the  tops  of  the  elms.  With  its  spire,  it  speaks  to 
God  as  it  opens  its  three  broad  doors  to  the  folk  of  earth. 
There, are  square  iron  lanterns,  each  capped  with  a  bright, 


Courtesy  of  the  "Musical   Observer" 

EDWARD  MacDOWELL 
Who  before  his  death  had   willed  that  his  refuge  in  Peter- 
borough  should  become  the  refuge  of  other  creative  minds 


brass  eagle,  on  either  side  of  the  cen- 
tral doorway  and  on  Sabbath  evenings 
these  are  lighted — a  gentle,  unobtrusive 
invitation  to  enter  this  ancient  house 
of  prayer. 

Our  modern  American  architects 
have  not  lacked  the  courage,  however, 
to  come  up  and  build  almost  in  the 
very  face  of  the  Bulfinch  masterpiece. 
Almost  within  a  stone's  throw  of  it  is 
the  new  Town  House,  built  but  four 
years  ago,  by  Russell  of  Boston,  and 
lacking  only  the  softening  weather 
beatening  of  but  a  few  more  years  to 
make  it  easily  to  be  confounded  with  the 
very  best  of  the  handiwork  of  the  mas- 
ter builders  of  a  preceding  century. 
Location  and  theme  were  not  lacking  in 
Mr.  Russell's  imagination  as  he  planned 
the  Peterborough  Town  House.  It  is 
richly  Colonial,  that  is  if  ever  you  can 
properly  call  Colonial  "rich."  To  my 
mind  that  is  the  chamber  music  of 
architecture.  At  its  best  it  is  repres- 
sed, delicate.  At  its  very  worst  it  be- 
comes flamboyant  or  even  ornate. 

As  a  companion  and  foil  to  his  love- 
ly Town  House,  Mr.  Russell  has  more 
recently  completed  for  Mrs.  Perkins 
Bass  a  club-house  and  historical  mu- 
seum that  some  day  undoubtedly  will 
become  the  property  of  the  town.  Its 
large  public  rooms  reflect  the  fine  at- 
mosphere of  the  old  church  and  the 
new  Town  House.  In  them  already 
is   being   gathered   the   nucleus   of    a 

MacDowell's    studio    cabin    on   the   hillside 

Page  Sixty-One 


SuADOWLAND 


The  pageant    seats   at  the   MacDowell   colony,  facing  the   great   stage 
designed  by  Stuart  Walker 


historical  collection  that  eventually  will  depict  the 
early  life  of  the  township  and  possibly  rival  even 
wonderful  col- 
lections of  Sa- 
1  e  m  and  of 
Marblehead. 
For  Peterbor- 
ough has  its 
own  great  his- 
tory. And  even 
if  its  details 
lack  just  a  little 
of  the  fine  col- 
or that  the  sea 
and  the  distant 
lands  that  be- 
yond it  lie  al- 
ways give  to 
a  port,  the  tra- 
ditions  of  a 
snow  -  bound 
principal  town 
where  stage- 
coaches 
changed  their 
horses  and 


The  Spr ague- 
Smith  Studio  at 
the  colony  with  a 
view  of  one  of 
Peterborough's 
beloved  moun- 
tains 


entire 
those 


into, 


quarter  sessions  sat  now  and  then  and  again  are 
not  to  be  scorned.  The  town's  old  tavern  still 
stands.  It  has  one  or  two  modern  thrills,  such  as 
an  Italian  garden  and  a  cafeteria,  but  upon  the 
square  Franklin  stove  in  its  old-fashioned  office 
one  may  read  that  a  local  foundryman  wrought 
it  for  Tucker's  Tavern  in  long-ago  1833.  It  was 
afterwards  that  the  Twelve  Apostles  came  to  bless 
the  tavern;  which  had  changed  its  name  but  not 
its  fame.  Their  pictures  still  hang  in  its  ancient 
tap-room.  Eleven  men  in  the  town,  by  their  given 
names,  answered  to  those  of  eleven  of  the  Apostles. 
The  choking  point  came  to  find  the  Judas.  The 
brother  of  the  old-time  keeper  of  the  inn  came 
forward. 

"I'll  take  that  job  on  myself,"  said  he.  "I'll 
not  have  it  said  that  Peterborough  failed  in 
anything." 

Which  is  local  pride  raised  to  the  nth  degree. 

The  high-set  architectural  standard  of  the  town 
also  has  received  recent  impetus  in  the  design  of  the 
Episcopalian  chapel  made  by  Ralph  Adams  Cram 
and  erected  in  an  unusually  sumptuous  setting  in 
Concord  Street.  Against  a  background  of  a  rising 
hillside  there  has  been  wrought  a  small  stone  church, 
in  an  English  Gothic  style  and  from  the  materials 
of  the  neighborhood,  stone  and  timber.  It  is  a 
simple,  rugged  structure,  fashioned  after  the  man- 
ner of  four  centuries  ago ;  stone  laid  upon  stone, 
timber  upon  timber,  in  the  crude  and  honest  sim- 
plicity of  the  thoro  artisan  of  an  earlier  day.  Mr. 
Cram,  in  his  fine  little  chapel,  has  not  even  made 
the  concession  to  modernity  of  pews.  Upon  the 
rough  flagging  of  his  stone-paved  floor  he  has  set 
two  shallow  rows  of  straw-chairs — such  as  one  may 
see  in  the  cathedrals  of  Europe,  all  the  way  from 
York  to  Naples.  The  chapel  is  notable  for  its 
entire  absence  of  the  gew-gaws  of  religious  flum- 
mery. It  is  a  little  church,  such  as  one  might  stumble 
in  a  small  village  of  Normandy,  or  Devonshire. 
(Continued  on  page  77) 


Page  Sixty-Two 


Current  Sculpture 


THE 
ORCHESTRA 

These  quaint 
bronze  figures, 
a  trifle  "Pan- 
nish"  in  expres- 
sion, are  the 
work  of  Michel 
M  art  in  o ,  a 
young  Italian 
sculptor.     He 


went  thru  Yale 
after  winning 
the  English  Fel- 
lowship prize; 
and  then  studied 
sculpture  under 
Lee  Lawrie  and 
H.  Kitzin.  The 
Brooklyn,  New 
York,  Memorial 
Flagstaff  is  his 
work 


Courtesy 
Ferargil  Gallery 


DYING  WARRIOR 

(Below) 

The  firm  yet  delicate 
handling  of  this  bronze 
suggests  the  new  manner 
of  Paul  Manship.  But  it 
is  by  John  Tweed,  an 
Englishman  and  a  pupil 
of  Rodin 

Photo  by  E.   O.  Hoppe 
Courtesy  of  Ferargil  Gallery 


ROBERT  FROST 

By  Alfeo  Faggi 

(At  the  Left) 

The  sensitive' 
ness  and  deli- 
cacy of  the  poet 
has  been  caught 
by  the  sculptor 


Photo  F.   O.   Bemra 
Courtesy   Bourgeois   Gallery 

THE  VINE 

(At  the  Right) 
Harriet  Frishsmuth  is  responsible 
for  this  exquisitely  conceived  and 
delicately  poised  figure.  Miss 
Frishsmuth  studied  in  Paris  under 
Rodian  and  Injalbert;  in  this  coun- 
try with  Gutzon  Borglum 


DAWN 

(At  the  Right) 

This  smooth  bronze  of  sweeping  lines  and 

enigmatic   expression   is   the   work   of  Lucy 

Perkins   Ripley,  well-known   sculptress   and 

winner  of  many  medals 


Courtesy 

Ferargil 

Caller} 


Page  Sixty-Three 


Presenting 

the 
Sakharoffs 


Photographs  ©  by  E.  O.  Hoppe 
of  London 


Clothilde  and  Alexander  Sakharoff, 
who  have  been  delighting  Paris  and 
London  in  their  dances  interpreting 
musical  classics.  Above,  the  dancers 
in  a  "False  Rouge,"  to  music  by- 
Chopin,  a  wonderful  study  in  radiant 
tonalities  and  vivid  chromatics.  At 
right,  Alexander  Sakharoff  in  a  Guitar 
Valse  to  the  plangent  accompaniment 
of  music  by  Moszkowski.  These 
charming  young  artists  design  their 
own  dresses  and  stage  decors 


Page  Sixty-Four 


"The  Greenwich 
Village  Follies" 

Original  Costume  Designs  for  the  Fourth  Annual  Production 
B^  Howard  Greer 


A  lady  of  the  Moyen  Age 
in  blue  and  silver  bro- 
cade   with    heavy    bands 

of  fur  .  .  . 


The     silhouette     dress     of     heavy 

black    lace    over    tights    of    black 

silk  veiling  .  .  . 


A  gown  which  might  adapt  it- 
self to  formal  evening  wear  .  .  . 
of  vivid  green  chiffon  and  tur- 
quoise  blue   satin  .  .  . 


Page  Sixty-Five 


SuADOWLAND 


Drama — Major  and  Melo 


He  Who  Gets  Slapped.    Garrick. — An 

interesting  production  of  the  Theatre 
Guild.  It  is  from  the  Russian  of  And- 
reyev, and  tells  the  tragic  story  of  a  cir- 
cus clown.  Perfectly  staged  and  acted.  A 
drama  that  will  appeal  to  the  discriminat- 
ing playgoer. 

The  Monster.  Thirty-Ninth  Street.— 
An  eerie  play  that  will  satisfy  the  theater- 
goer who  is  stirred  by  things  gruesome 
and  horrifying.  Wilton  Lackaye  heads  the 
cast. 

Whispering      Wires.      Forty-Ninth 


Street. — A  headliner  among  mystery  melo- 
dramas ;  one  that  will  be  relished  by  the 
seekers  after  thrills  and  chills,  even  tho 
they  may  have  learned  the  solution  before- 
hand. 

The  Woman  Who  Laughed.  Long- 
acre. — Admirers  of  the  blonde  beauty  of 
Martha  Hedman  will  enjoy  her  and  her 
commendable  work  in  this  play  by  Edward 
Locke,  which  was  originally  known  as 
"My  Lady's  Lips."  It  is  produced  by 
Wallace  Eddinger  and  has  a  cast  of  only 
three  characters. 


Humor  and  Human  Interest 


Captain  Applejack.  Cort.  —  Wallace 
Eddinger  and  Mary  Nash  at  their  best  in 
one  of  the  most  finished  and  amusing 
burlesque-melodramas  of  many  a  year.  If 
you  have  retained  that  youthful  spirit 
which  responds  to  a  search  for  hidden 
treasure,  adventure  aboard  a  pirate  ship, 
and  romance  in  a  haunted  house,  you  can- 
not afford  to  miss  this  play. 

Kempy.  Belmont. — Another  of  those 
very  human  small-town  domestic  comedies 
that  seem  to  wear  well  on  Broadway.  It 
is  exciting  and  refreshing.  A  hand  to  the 
Nugent  family  :  father  and  son  collaborated 
in  the  playwriting  and,  with  daughter 
Ruth,  appear  in  the  cast. 

Kiki.  Belasco. — The  piquant  cocotte  of 
the  Paris  music  halls  is  admirably  char- 
acterized by  Lenore  Ulric.  The  play  is 
produced  by  David  Belasco  and  adapted 
by  him  from  a  French  farce  by  Andre 
Picard.    Well  worth  seeing. 

Lights  Out!  Vanderbilt. — A  rapid -ac- 
tion comedy  dealing  with  the  mad  whirl 
of  Motion  pictures.    In  the  cast  are  Robert 


Ames,  Beatrice  Noyes  and  William  Inger- 
soll. 

Manhattan..  Playhouse. — A  plot  that 
needs  to  be  made  a  little  less  conventional. 
Also,  the  dialog  should  be  less  burdened 
with  epigrams.  The  ever-popular  Norman 
Trevor  has  the  leading  role,  but  Albert 
Gran,  who  plays  the  small  part  of  a  Dutch 
novelist,  walks  off  with  half  the  honors. 
A  satisfying  play  for  one  who  wishes 
only  light  amusement. 

Partners  Again.  Selwyn. — The  inimit- 
able Barney  Bernard  and  Alexander 
Carr  in  a  new  Potash  and  Perlmutter 
comedy. 

Shore  Leave.  Lyceum. — A  mild  and 
sentimental  comedy  with  a  country  seam- 
stress for  heroine  and  a  "gob"  for  hero. 
Frances  Starr  plays  the  part  of  the  dress- 
maker, Connie  Martin,  with  a  great  deal 
of  charm  and  variety.  James  Rennie,  the 
marriage-dodging  sailor,  gives  a  topnotch 
characterization.  A  play  that  will  leave 
you  feeling  that  you've  had  a  right  good 
time. 


Melody  and  Maidens 


Blossom  Time.  Ambassador. — The  re- 
turn engagement  of  this  successful  op- 
eretta based  on  episodes  in  the  life  of 
Franz  Schubert  and  interspersed  with 
songs  by  that  great  composer,  speaks  well 
for  the  good  taste  of  the  theater  -  and 
music-loving  public.  Bertram  Peacock 
plays  the  role  of  Schubert  most  sympathe- 
tically, and  Olga  Cook  is  an  enchanting 
Mitzi. 

Chauve-Souris.  Century  Roof. — Balieff 
and  his  Russian  entertainers  from  Moscow 
are  still  the  talk  of  the  town.  Their  unique 
offering   pleases   even  the  most 
blase     theatergoer.      You     will 
be    haunted    by    the    rhythmic 
perfection    of    the    "Parade    of 
the  Wooden  Soldiers,"  the 
fire  and  color 
of    "Katinka," 
and     the     ex- 
quisite    music 
of    "Copenha- 
gen   Porce- 
laine." 

Greenwich 
Village  Fol- 
lies.   Globe. — 


Three  hours  of  melody,  dancing,  and  fun. 
Beautiful  costumes,  settings  and  girls.  An 
elaborate,  artistic  revue.    You  will  like  it. 

Plantation  Revue.  Forty-Eighth 
Street. — Talented  negro  entertainers  pre- 
sent a  colorful  and  tuneful  show  that  is 
the  best  of  its  kind  on  Broadway,  chiefly 
because  the  old  negro  melodies  have  been 
less  jazzed — true  interpretation  having 
been  considered  of  greater  importance 
than  extreme  syncopation. 

Ziegfeld  Follies  of  1922.  New  Amster- 
dam.— This  revue  lives  up  to  its  assump- 
tion :  "Glorifying  the  American  Girl." 
It  is  as  dazzling  and  distract- 
ing as  in  the  past,  tho  a  little 
less  spectacular.  All  will  ap- 
plaud the  return  of  Will 
Rogers  ;  many  will  approve 
the  unusual 
number  of 
humorous  epi- 
sodes,  and 
many  will  re- 
gret the  omis- 
sion of  the 
exquisite  Ben 
Ali  Haggin 
tableaux. 


The  Theatrical  Menu 

{Continued  from  page  51) 

"Whispering  Wires,"  opening  August  seventh 
at  the  Forty-ninth  Street  Theater,  is  the  logi- 
cal successor  to  "The  Bat"  and  "The  Cat  and 
the  Canary."  The  first  two  are  splendid  spine 
agitators,  but  they  rely  for  their  goose-flesh 
effects  onthe  mystery  of  the  unknown  murder. 
"Whispering  Wires"  takes  a  triumphant  step 
forward  and  leads  you  thru  a  labyrinth  of 
grisly  speculation  not  only  as  to  who  but  how 
the  elderly  millionaire,  already  warned  of  his 
danger  and  consequently  guarded  on  every  side, 
meets  his  strange  and  violent  death  in  spite  of 
all  precautions.  This  play  is  a  finely  conceived 
and  executed  piece  of  work.  It  has  been  skil- 
fully dramatized  by  Kate  McLaurin  from  a 
story  of  the  same  name  by  Henry  Leverage. 
Olive  Tell,  Bertha  Mann,  George  Howell  and 
Malcolm  Duncan,  as  the  four  busiest  people  in 
the  cast,  act  with  insight  and  finished  artistry 
and  the  denouement  which  we  are  warned  to 
keep  under  our  hat,  is  both  thrilling  and  in- 
genious. 

Possibly  one  of  the  most  important  events  on 
Broadway  this  season  is  the  production  by 
Arthur  Hopkins  of  Don  Marquis's  play  based 
on  his  famous  column  character  The  Old 
Soak.  Here  we  have  a  famous  author  and 
humorist,  a  famous  fictional  character,  a  dis- 
cerning and  fastidious  producer  and,  as  if  this 
weren't  enough,  a  cast  that  glitters  and  gleams 
with  talent  and  reputation.  Harry  Beresford, 
first  of  all  as  The  Old  Soak.  Mr.  Beres- 
ford is  remembered  for  his  inimitable  per- 
formance in  Irvin  Cobb's  play,  "Boys  will  be 
Boys,"  in  which  he  brought  the  irresistible  Peep 
O'Day  to  life.  Minnie  Dupree  is  the  wife,  and 
besides  these  two — enough  to  form  a  cue  at  any 
box  office  —  there  are  Robert  McWade, 
George  LaGuere,  Eva  Williams,  Grant  Mills 
and  Robert  O'Connor  of  "The  Deluge"  fame. 
Mr.  Marquis's  play  has  all  the  homely  appeal  of 
"Lightnin' "  and  "Turn  to  the  Right" :  A  mort- 
gage on  the  home,  an  erring  son,  a  sacrificing 
father  whose  sterling  qualities  are  discovered 
after  many  misunderstandings.  But  its  humor 
springs  from  a  deeper  vein  than  either  of  these 
plays  and  its  story  takes  on  an  added  interest 
as  the  first  play  to  treat  of  the  Eighteenth 
Amendment. 

Mr.  Belasco  ushered  in  the  new  season  on 
August  tenth  at  the  Lyceum  where  he  presented 
Frances  Starr  in  a  new  "sea  goin' "  comedy, 
"Shore  Leave"  by  Hubert  Osborne.  Every- 
thing that  is  needed  to  contribute  toward  a  per- 
fect production  is  here,  down  to  the  realistic 
booming  of  the  surf,  which  makes  a  nice  back- 
ground for  the  hero's  love-making.  Miss  Starr 
works  painstakingly  for  her  effects  and  James 
Rennie  does  the  best  work  of  his  life  as  the 
fickle  sailor  so  assiduously  pursued  by  the  per- 
severing Connie  Martin.  Technically,  the  pro- 
duction could  not  be  improved,  and  if  it  does 
not  prove  a  success,  it  will  probably  be  due 
not  so  much  to  the  fact  that  the  play  is  poor  as 
that  it  never  seems  quite  the  proper  setting 
for  Miss  Starr's  delicate  and  exquisite  artistry. 
As  the  naive  and  illiterate  little  country 
"modiste,"  her  performance  is  pervaded  thru- 
out  by  the  ghosts  of  her  past  successes ;  Laura 
Murdock  and  Marie  Odile,  the  bedizened  lady 
in  "Tiger !  Tiger !"  and  Becky.  All  these  seem 
to  haunt  "Shore  Leave"  as  if  reluctant  to  make 
way  for  the  energetic  little  Connie  Martin, 
which  is  unfortunate.  Possibly  this  fault  will 
be  obviated  by  time,  and  a  well-rounded  Connie 
will  emerge  from  the  reminiscent  confusion 
which  blurs  the  portrayal  at  present.  If  this, 
happens,  "Shore  Leave"  will  prove  an  excellent 
entertainment  after  a  trying  day  at  the  office 
or  in  the  kitchen. 

And  now,  if  we  credit  the  roseate  announce- 
ments for  the  new  season,  it  would  be  as  well 
to  take  our  dress  clothes  out  of  the  moth  bags 
and  hang  them  on  the  pulley  line.  For  there 
will  be  John  Barrymore  in  a  new  Eugene 
O'Neill  play,  "The  Fountain,"  and  Laurette 
Taylor  in  Fannie  Hurst's  "Humoresque."  No 
one  can  afford  to  miss  either  of  these.  The 
Theatre  Guild,  with  Joseph  Schildkraut  signed 
up  for  "Peer  Gynt"  and  "Romeo,"  is  continuing 
to  sail  a-long  in  the  altitude  they  attained  with. 
(Continued   on  page   76 


Page  Sixty-Six 


SllADOWkAND 


The  Vista  of  the  Dance 

(Continued  from  page  43) 


flaunts  her  diploma  in  her  name;  Ada  Froman, 
whose  portrayal  of  the  Javanese  mannikins  is 
so  perfect,  Margaret  Severn,  the  first  mask 
dancer,  Lilian  Powell,  Martha  Graham  and 
cunning  little  Marjorie  Peterson,  who  is  taking 
New  York  by  storm  this  year,  all  pay  homage 
to  the  school  of  Denishawn.  And  Denishawn 
is  soreading;  two  Eastern  branches  have  been 
opened.  And  the  indefatigable  Mr.  Shawn  is 
now  directing  the  new  Prizma  music  films,  so 
popular  on  movie  programs.  These  are  the 
only  successful  presentation  of  the  dances  on 
the  screen. 

Quite  another  form  of  the  dance  has  been 
beautifully  shown  to  America  by  Roshanara, 
a  young  English  woman,  bred  in  India,  who 
knows  the  secrets  of  the  "inner  courts." 
Roshanara,  the  product  of  one  school,  is  a  per- 
fect dancer,  the  mistress  of  the  art  of  panto- 
mine,  a  visible  melody  of  music ;  a  genius  with 
a  splendid  training.  But,  she  is  an  artist  not  a 
teacher.  Another  artist  who  is  master  of  her 
profession  and  yet  does  not  teach  is  Pavlowa, 
who  has  conquered  with  imitable  grace  and 
poise  the  formal  technique  of  the  ballet. 

Probably  the  finest  representation  of  the 
dance  that  has  gone  extensively  thru  the 
country  are  the  Marion  Morgan  dancers,  who 
have  been  on  vaudeville  programs  for  the  last 
few  years.  Miss  Morgan  has  high  ideals.  She 
has  trained  her  pupils  till  they  work  as  tho 
they  had  one  mind,  and  their  dance  presenta- 
tions, always  based  on  the  old  Greek  or  Roman 
ideas,  have  done  a  great  deal  to  raise  the  stand- 
ard of  an  art  so  frequently  abused.  This  group 
is  also  non-teaching  and  professional. 

There  have  been  many  people  who  collected 
folk-dances  of  various  countries,  but  the 
schools  that  teach  these  are  limited.  A  course 
in  folk-dancing  is  usually  included  in  other 
schools.  Probably  the  leading  folk-dance  school 
is  that  of  the  American  representative  of  Cecil 


Sharp,  who  did  a  most  praiseworthy  piece  of 
work  in  rescuing  from  oblivion  the  folk-dances 
and  songs  of  the  Island  Empire.  In  America, 
Charles  Rabold  is  the  head  of  this  school, 
which  offers  a  splendid  foundation  for  anyone 
who  is  interested  in  folk-dances  or  pageantry  of 
any  sort. 

Another  group  of  dancers  in  New  York, 
headed  by  a  young  woman,  Elise  Dufour,  is 
working  out  a  most  interesting  form  of  the 
dance.  Miss  Dufour  believes  in  the  dance  as 
part  of  life,  rather  than  an  art  of  itself.  She 
gathers  around  her  groups  of  children,  and  of 
older  people,  and  dancing  with  them,  gives  the 
feeling  of  the  various  emotions,  expressed  in 
movement.  Miss  Dufour  uses  people  as  an 
artist  uses  his  paints. 

She  handles  massed  form  with  such  perfec- 
tion that  the  whole  group  is  composed  of 
figures  in  exquisite  detail,  complete  in  them- 
selves and  yet  related  to  the  whole  group  in 
constantly  changing  motion.  It  is  as  tho  she  takes 
from  each  individual  a  personal  conception  and 
molds  and  combines  them  all  into  a  work 
which  is  broader  than  any  mind  can  fully  con- 
ceive. Miss  Dufour  does  not  speak  of  her  work 
as  dancing ;  for  the  person  who  is  contemplating 
handling  large  groups  of  people,  study  with  her 
would  be  invaluable. 

There  are  countless  other  dancers  and 
teachers  of  the  dance  in  America.  Every  day 
someone  finds  some  new  fashion  of  expressing 
music.  There  are  dancing  camps  in  the  moun- 
tains ;  there  are  dancing  camps  at  the  shore.  In 
the  city  there  are  groups  of  people  who  dance, 
because  they  must,  on  roofs  after  the  sun  goes 
down.  But  wherever  you  are  and  whoever 
you  are,  there  is  a  field  of  the  dance  for  you, 
and  a  teacher  who  will  either  show  you  how  to 
follow  the  conventional  roads  or  help  you  to 
discover  a  path  of  your  own  to  the  dance. 


MiiiiiiNiillilmimiiiimmimiiiiHiiiMimMMiiiiiTiMiMiiiMlllimi 

The  Season  of  Symphony 

(Continued  from   page   45) 


conducted  by  himself,  if  the  Soviet  authorities 
permit  him  to  leave  the  country  where  he  has 
been  starving  and  struggling,  like  the  rest,  for 
the  past  four  or  five  years.  His  first  sym- 
phony, written  when  he  was  only  sixteen,  is 
a  remarkable  work,  all  things  considered ;  and 
his  second,  produced  at  the  Paris  Exposition  in 
1899,  and  his  fourth  and  fifth,  which  I  heard 
done  in  London  in  1897,  are  strong  works. 

Incidentally  he  wrote  a  triumphal  march  with 
chorus  for  the  Chicago  Exhibition  of  1895.  I 
last  saw  him  conduct  at  the  big  Pavlosk  con- 
cert hall,  near  Petrograd,  in  1915,  and  he  struck 
me  as  one  of  the  most  masterful  wielders  of 
the  baton  in  my  experience.  I  hope  that  when 
he  comes  here  he  will  follow  Richard  Strauss 
in  securing  the  Philadelphia  Orchestra  for  his 
concerts,  for  there  is  none  quite  so  good. 

And  this  brings  us  to  a  consideration  of 
Stokowski  and  his  forces.  The  Quaker  City, 
where  American  music  may  be  said  to  have 
made  its  beginnings,  can  point  with  pride  to 
the  fact  that  its  high  opinion  of  its  orchestra 
is  backed  to  the  limit  in  New  York,  where 
every  concert  is  sold  out  and  the  subscription 
list  is  almost  as  heavily  over-subscribed  as  a 
Liberty  Loan,  which  Arthur  Judson,  the  man- 
ager, tells  me  is  the  case  this  year  as  last. 

Personally  I  have  done  at  a  Philadelphia 
Orchestra  concert  what  I  would  not  do  at  a 
concert  given  by  any  other  symphony  orchestra 
which  plays  in  New  York.  I  have  stood  thru- 
out  the  evening,  and  I  once  found  myself  in 
good  company,  for  Harold  Bauer  was  stand- 
ing at  my  side.  I  have  noted  the  presence  of 
more  eminent  musicians  at  a  Philadelphia  Or- 
chestra concert  than  at  any  other.  On  one  oc- 
casion I  observed  Rachmaninoff,  Bauer, 
Heifetz,  Ysaye,  Lhevinne  and  several  others, 
scarcely  of  lesser  note,  all  listening  attentively 
and  applauding  enthusiastically.  Mengelberg 
has  reason  to  say  that  it  is  "one  of  the  finest 


organizations  I  ever  had  the  pleasure  to  con- 
duct," for  I  have  often  heard  his  own  Con- 
certgebouw.  Richard  Strauss  who,  as  already 
said,  selected  the  Philadelphia  last  season  for 
his  own  series  of  concerts,  styled  it  "Ein 
jabelhaftes  or  Chester  I" 

And  "a  miraculous  orchestra"  say  all  of 
those  who  know  and  who  are  not  actuated  by 
local  or  other  jealousies.  One  of  my  great 
musical  memories  is  the  performance  by  the 
Philadelphia  Orchestra  of  Stokowski's  own 
arrangement  of  Bach's  "Passacaglia  in  C 
Minor."  The  orchestration  was  superb,  and  so 
was  the  performance.  I  was  so  moved  by  it 
that,  tho  I  do  not  happen  to  have  met  Stokow- 
ski, I  wrote  to  him  and  told  him  what  I  thought 
of  it  all.  His  reply  was  as  modest  as  it  was 
interesting,  and  I  feel  at  liberty  to  quote  part 
of  it.   He  said : 

I  cannot  thank  you  enough  for  the  great 
pleasure  your  letter  gave  me.  The'Tassa- 
caglia"  of  Bach  has  all  my  life  been  a 
work  I  love,  and  as  I  feel  that  it  is  not 
enough  known  by  the  general  public,  I 
want  to  bring  it  closer  to  them.  Also,  al- 
tho  I  may  be  biased  in  my  views,  it  has 
always  seemed  to  me  that  it  called  for  or- 
chestral expression  (it  was  written  for  the 
organ),  and  I  felt  confirmed  in  this  when 
I  came  to  orchestrate  it,  as  it  seemed  to 
orchestrate  itself  with  the  utmost  natural- 
ness. It  made  me  realize  what  extraordi- 
nary music  Bach  would  have  written  for 
the  modern  orchestra  had  it  been  at  his 
disposal. 

In  this  last  sentence  is  the  germ  of  the  reply 
to  those  purists  who,  when  men  like  Elgar  or 
Stokowski  arrange  one  of  Bach's  works  for 
the  modern  orchestra,  exclaim  in  holy  anger 
and  pious  grief  that  sacrilegious  hands  are  be- 
ing laid  upon  a  masterpiece. 


Jp^NOWN  only  to  the  ladies  of  a 
J™  -/V       certain  noble  family  of  Floren- 
•^       ^-^tine  days  was  a  magic  skin 
|o  formula — its  use  rendering  thempre- 
'  eminent  in  courtly  circles  because  of 
their  transcendent  beauty  of  complex- 
ion.    Mysterious   and  wonderful! 
What  could  it  be?   Science  has  dis- 
closed "that  mysterious  something." 

SEM-PRHY 
JO'VE-NfiY 

Sempre  Giovine 

JMeanmg  '341  ways  young '' 


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the  oily  pore  deposits  and  removes  them  without 

irritating  the  delicate  epidermis. 

Sem-pray  Jo-ve-nay  is  to  the  skin  what  the  sun 

is  to  the  flowers,  giving  that  delightful  freshness 

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SuiADOWLAND 


His  Eyes  Come 
Close  When  You  Dance 

Do  You  Like  To  Have  Him 
Know    You    Are    Freckled? 

Together  you  slum  around  the  waxed  floor,  almost 
in  a  world  for  two.  His  eyes  are  close  to  you.  He 
cannot   fail   to   take   an    estimate   of  your  beauty. 

And  how  much  more  a  roseleaf  skin  will  appeal 
to   him   than — freckles  I 

Freckles  are  the  result  of  neglect.  You  need  not 
tolerate    them.      For    years 

STILLMAN'S  FRECKLE  CREAM 

Now  sold  in  the  new  purple  and  gold  box. 
has  been  on  the  dressing  tables  of  well  groomed  girls. 
It   leaves    the   skin   without    a  blemish   and   causes   no 
downy   growth. 

If  your  druggist  has  no  supply,  write  us  direct. 
ft'  ailed  in  a  plain  package.  50c  a  jar.  Money 
refunded  if  not   satisfactory. 

Send  today  for  booklet.     "Wouldst  Thou  Be  Fair?" 
containing    helpful   beauty   hints. 
STILLMAN  CREAM  CO..  Dept.  30,  Aurora,  111. 


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LEWIS  HOTEL  TRAINING  SCHOOLS 
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for  six  drawings  a  week — more  than  $80,000  a 
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These  men  and  more  than  60  others  of  America's  leading 
illustrators   and  cartoonists   comprise   the   Federal    Staff. 

If  you  have  talent  for  drawing,  capitalize  your  ability. 
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bring  this   book. 

FEDERAL   SCHOOLS,    Inc. 
1054    Federal    Schools    Bldg.,    Minneapolis,    Minnesota 


Mrs*  Wharton  and  Some  Others 


(Continued  from  page  36) 


the  large  industrial  cities  of  America.  Babbitt, 
the  central  figure,  a  right-thinking,  forward- 
looking,  hundred -per -cent. -American  might 
easily  reside  and  be  a  power  in  Detroit  or 
Pittsburgh,  Kansas  City  or  Atlanta,  Seattle 
or  New  York,  Chicago  or  Sandusky.  It  is  an 
engaging  theme,  a  depiction  of  this  man's  life 
and  ways  of  thinking,  and  it  offers  great  criti- 
cal and  satiric  as  well  as  dramatic  and  sympa- 
thetic possibilities.  It  should  add  greatly  to  the 
literature  designed  to  reflect  and  interpret 
American  life.  If 
Mr.  Lewis  has  done 
as  well  by  the  sub- 
ject as  he  has  in 
"Main  Street"  (and 
I  am  assured  that  he 
has),  it  will  be  one 
of  the  season's 
novels  which  deserve 
the  attention  of  all 
people  interested  in 
the  welfare  of  our 
country  and  its 
literature. 

Say  what  you  will 
of  the  work  of  Mrs. 
Mary  Roberts  Rine- 
hart,  she  has  the 
narrative  gift.  She 
can  tell  an  interest- 
ing story  with  a 
rapidity  and  ease 
which  few  fictionists 
are  able  to  achieve. 
She  is,  in  fine,  a 
good  story  teller, 
not  a  precisian,  a 
stylist,  a  speculative 
philosopher,  a  pro- 
pagandist of  ideas. 
That  is  why  she  is 
the  most  popular 
and  hence  the  high- 
est paid  woman 
magazine  writer  in 
America.  Of  her 
new  novel,  "The 
Breaking  Point,"  it 
may  be  said  that  it 
is  her  best  novel 
since  "K,"  a  capital 
love  story,  exciting 
and  capable  of  being 
read    without    effort. 

Within  the  space 
of  a  very  few  years, 
Katherine  Mans- 
field, an  English- 
woman in  her  early 
thirties,  has  emerged 
as  one  of  the  most 
important  short 
story  writers  of  her 
period.  Deriving 
from  Chekhov,  with 
that  Russian 
master's     ability     to 

seize  upon  the  essential  dramatic  significance 
of  slight  occurrences  and  to  present  episodes  in 
such  a  concise  and  moving  a  manner  that  they 
become  profound,  she  has,  in  "The  Garden 
Party,"  given  us  a  volume  of  short  stories  of 
the  highest  distinction.  She  has  the  ironic 
touch,  an  interesting  and  intelligent  point  of 
view,  and  a  style  that  is  fluid  and  clear. 

The  effect  of  the  war  upon  the  younger  gen- 
eration of  writers  in  England  was,  it  seems,  to 
heighten  the  slightly  cynical,  sophisticated 
hedonism  which  began  to  creep  into  modern 
English  fiction  with  Norman  Douglas'   "South 


Recommended  Books 

Shadowland  recommends  the  fol- 
lowing books  to  the  attention  of  its 
readers: 

Fiction 

"One  of  Ours,"  by  Willa  Cather.  Alfred 
Knopf,  Inc. 

"The  Glimpses  of  the  Moon,"  by  Edith 
Wharton.     Appleton. 

"Babel,"  by  John  Cournos.  Boni  &  Live- 
right. 

"Batouala,"  by  Rene  Maran.    Seltzer. 

"Gorgoyles,"  by  Ben  Hecht.  Boni  &  Live- 
right. 

"Breaking  Point,"  by  Mary  Roberts  Rine- 
hart.    Doran. 

"Certain  People  of  Importance,"  by  Kath- 
leen  Norris.    Doubleday,   Page. 

"The  Promised  Isle,"  by  Laurids  Bruun. 
Knopf. 

"Babbitt,"  by  Sinclair  Lewis.  Harcourt, 
Brace  &  Co. 

"The  Forsyte  Saga,"  by  John  Galsworthy. 
Scribner's. 

"Crome  Yellow,"  by  Aldous  Huxley. 
Doran. 

"The  Garden  Party,"  by  Katherine  Mans- 
field.   Knopf. 


Non-Fiction 


by 


"Soliloquies      in      England," 

Santayana.    Scribner's. 
"Books      and      Characters," 

Strachey.    Harcourt,   Brace  &  Co. 
"Readers  and  Writers,"  by  A.   R.  Orage. 

Knopf. 
"Belshazzar   Court,"  by   Simeon   Strunsky. 

Holt. 
"The    Opinions    of    Anatole    France,"    by 

Paul  Gsell.     Knopf. 
"The   Little   Misogynists,"   by  Karl   Spite- 

lcr.    Holt. 
"On  Life  and  Letters,"  by  Anatole  France. 

Dodd,  Mead  &  Co. 
"Broken    Stowage,"    by    Capt.    David    W. 

Bone.    Dutton. 
"History      of      Art,"      by      Elie      Faure. 

Harper's. 


Wind."  There  may  have  been  earlier  evidences 
of  this  tendency  than  this  delicious  and  rakish 
story  by  Mr.  Douglas,  but  it,  at  all  events,  was 
the  first  conspicuous  indicator  of  the  literary 
mood.  There  have  followed  in  its  train, 
each  in  its  individual  and  charming  way, 
"The  Pilgrim  of  a  Smile"  and  "Guinea  Girl" 
by  Norman  Davey ;  the  superior  refinements  of 
involved  and  elliptical  decadence  of  Ronald 
Firbank;  and,  standing  out  as  the  Oscar  Wilde 
of  his  period,  the  young,  accomplished,  bril- 
liant, sardonic  and 
clever  Aldous  Hux- 
ley. In  "Leda"  he 
made  the  beginner's 
first  oblation  to  the 
Muses  in  a  series  of 
polished  verses, 
highly  erotic  and 
disenchanted.  Came 
then  "Limbo,"  a  vol- 
ume of  short  stories 
so  skilfully  done,  so 
crispy  and  cleverly 
satirical,  and  so  full 
of  happy  observa- 
tions of  the  follies 
®f  contemporary 
society,  that  Mr. 
Huxley  became  at 
once  the  one  young 
man  in  England  up- 
on whom  all  critical 
eyes  were  turned  in 
expectancy.  He 
obliged  with  a  full 
length  novel,  "Crome 
Yellow,"  which  was 
a  delight,  and  his 
latest  offering  is 
another  collection  of 
short  stories,  "Mor- 
tal Coils,"  with  its 
inimitable  and  superb 
story,  "The  Tillitson 
Banquet,"  the  brazen 
"Nun's  at  Lunch- 
eon," and  the  sharp 
and  witty  "Giocunda 
Smile."  Mr.  Huxley 
is  certain  to  become 
a  literary  fashion 
and  he  deserves  even 
more  than  that. 


by 


George 
Lytton 


Among  the  recent 
books  of  essays,  I 
should  recommend 
to  your  attention, 
"Soliloquies  in  Eng- 
land," by  George  San- 
tayana, probably  the 
only  person  since 
Remy  de  Gourmont 
to  offer  any  definite 
contribution  to 
philosophic  ideas 
and  certainly  one  of 
the  greatest  masters 
of  English  now  writing;  "Margins  of  Hesita- 
tion" by  Frank  Moore  Colby,  a  series  of  wise 
and  refreshing  essays  on  contemporary  matters ; 
"Books  and  Characters,"  by  Lytton  Strachey, 
with  its  superb  treatment  of  Voltaire  and 
Frederick  the  Great,  quite  in  the  manner  of 
"Eminent  Victorians"  and  "Queen  Victoria" ; 
"Decadence"  by  Remy  de  Gourmont,  a  re- 
presentative collection  of  that  great  French 
writer's  essays  in  the  dissociation  of  ideas ; 
"Belshazzar  Court"  by  Simon  Strunsky,  a  new 
edition  of  a  charming  and  human  book  about 
New  York. 


Page  Sixty-Eight 


SuiAUOWLAND 


(b) 
(c) 
(d) 

(e) 


The  Camera  Contest 

(Continued  from  page  54) 

merit,  together  with  three  prizes  of  yearly 
subscriptions  to  Shadowland  to  go  to  three 
honorary  mentions.  All  prize  winning  pictures 
will  probably  be  published  in  Shadowland. 

The  committee  of  judges  includes: 

Joseph  R.  Mason,  chairman  of  committee, 
Corresponding  Secretary  P.  P.  A. ;  Eugene  V. 
Brewster,  Editor  and  Publisher  of  Shadow- 
land;  Louis  F.  Bucher,  Secretary  Associated 
Camera  Clubs  of  America;  Dr.  A.  D.  Chaffee, 
President  of  P.  P.  A.;  Arthur  D.  Chapman, 
Advisory  Committee  P.  P.  A. ;  G.  W.  Harting, 
Advisory  Committee  P.  P.  A. ;  Dr.  Chas.  H. 
Jaeger,  contributing  member  Pittsburgh  and  Los 
Angeles  Salons ;  Miss  Sophie  L.  Lauffer,  Secre- 
tary Dept.  of  Photography,  Brooklyn  Institute 
of  Arts  and  Science ;  George  P.  Lester,  Member 
P.  P.  A.  and  Orange  Camera  Club;  Nickolas 
Muray,  portrait  photographer ;  John  A.  Ten- 
nant,  Editor  and  Publisher  of  Photo  Miniature; 
Miss  Margaret  Watkins,  ex-Recording  Secre- 
tary P.  P.  A. ;  Clarence  H.  White,  ex-President 
P.  P.  A. 

The  jury  of  selection,  to  be  announced  each 
month  with  their  selections,  consists  of  three 
members,  to  be  chosen  from  the  committee  or 
the  membership  of  the  society.  No  member  of 
the  jury  thus  chosen  for  any  given  month  shall 
submit  pictures   for  that  month's  contest. 

Shadowland  desires  that  every  camera  enthu- 
siast reap  benefit  from  this  contest  and  to  this 
end  makes  the  inclusion  of  the  following  data 
re  contesting  prints  imperative : 

(a)     Date  and  hour  of  exposure. 
Stop  number  used. 
Printing  medium  used. 
Character  of  print — whether  straight  or 
manipulated. 
Make  of  camera  and  lens. 

Any  print  previously  published  is  not  eligible. 

No  printing  medium  is  debarred,  but  capability 
of  good  reproduction  will  be  a  factor  in  the 
selection  of  prints. 

Contestants  may  submit  prints  up  to  any  num- 
ber and  to  as  many  of  the  monthly  contests  as 
they  desire. 

Prints  received  on  or  prior  to  the  first 
of  each  month  to  be  considered  entered  in  that 
month's  contest. 

Name  and  address  of  maker,  title  and  number 
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iiiiiiiiMimiMiimiiiiHiiiiiiiiiiii 

AUTUMN  NIGHT 

By  Susan  Myra  Gregory 

Beauty    so    keen    is    like    a    two-edged    sword, 
Or  like  swift  shining  flames  that  kiss  and  kill. 

This  moonlight   stirs   the   same   vague   restless- 
ness 
That  under  other  moons   was   wont  to  thrill 

The  heart  of  Semele,  so  soon  to  win 
Immortal    radiance    thru   divine    desire — 

God — I  could  run  among  your  stars  this  night, 
Shod   with   strange   winds,   and   bodied    with 
white  fire ! 


The  Wonderful  Thing 

IN  LIFE  IS 

WOMAN'S   SECRET  CHARM 

What  Is  It?     How  Can  It  Be  Acquired? 
Are  You  Lonely? 

Many  a  woman  today,  who  craves  companionship  and  love, 
suffers  in  silence  without  knowing  why  she  is  neglected.  The  secret 
of  woman's  charm  is  that  natural  physical  perfection  which  lends  en- 
chantment wherever  she  goes — the  thing  that  makes  her  WOMAN 
in  the  first  place — irresistibly  draws  man  to  her.  That  charm  is  her 
"physical   beauty." 

Bust  Pads  Will  Not  Do 

No  man   loves   a   dummy.     There   is   no   appeal   in   false,   physical 

\  .  >>        make-up.     Man   cannot  be   deceived.     You  must  be  a   REAL  woman, 

;■;.  and  because  you   are,   you  will   want  to  be   as  perfectly    developed    as 

nature  meant   you   to   be. 

You  Have  a  Friend 

Science  comes  to  your  rescue,  in  the  perfection  of  a  wonderful 
invention  which  will  expand  and  enlarge  the  bust  of  any  woman  in  a 
surprisingly  short  time,  no  matter  what  the  cause  of  under-development.  No  creams,  no  medicines,  no  electrical  con- 
trivances, no  hand  massage,  no  fake  free  treatments  to  deceive  you — but  a  simple,  effective,  harmless  home  devel- 
oper which  you  use  a  few  minutes  night  and  morning.  That  is  all  there  is  to  do.  Nature,  thru  the  physical  exci- 
tation and  stimulation  of  this  wonderful  invention,  builds  up  flabby,  lifeless  tissues  into  the  rounded  contour  of  per- 
fect  beauty    which   every   woman   secretly   craves. 

You  Can  Now  Be  Happy 

and  sought  after  and  admired  and  loved,   if  you  will  let  us  tell   you   about   this   remarkable   developer,    which   is   the 
only   real   method   known    for   permanently   enlarging    a   woman's  bust  to  its  natural  size  and  beauty. 

Its  Results  Are  Wonderful 

Dr.  C.   S.   Carr,  former  physician  of  national  reputation,   says   of   this  physical  culture   invention: 

"Indeed,  it  will  bring  about  a  development  of  the  busts  Quite 
astonishing." 
Actress,    "The    Follies    Company,"   writes : 

"This  invention  has  done  wonders  for  me,  having  developed 
an  attractive  bust  of  FOUR  INCHES  in  the  short  time  of  THREE 
WEEKS — was  never  larger  than  a  child's.  I  cannot  express  how 
delighted  I  am  in  this  changed  appearance.  I  take  pleasure  in 
recommending  it  to  my  friends  of  the  profession." 

Let  U«  Tell  You  FREE 

without  the  cost  of  one  penny,  just  how  you  may  acquire  this 
irresistible  charm  of  womanhood  that  comes  instinctively  with  a 
wonderfully  developed  figure.  Send  your  name  and  address  to- 
day and  prepare  for  the  happiest  moments  of  your  life. 


Mail  the  Coupon   Today 


THE   OLIVE   COMPANY,    Dept.  215. 
Clarlnda,    Iowa,    U.   S.   A. 

Please  tell  me  all  about  your  wonderful  Invention 
for  women,  without  cost  or  obligation  to  me.  (This 
information  sent  sealed    If  you   enclose   4c   stamps. ) 


Name. 


Street. 


City     and     State. 


DISCOVERED! 

The  One  Magazine  No  Woman  Can  Afford  To  Miss 


tf^eeruty 


TT  is  the  last  word  on  matters  of  physical  beauty,  charm,  mental  poise,  good 
J-    taste  in  dress. 

Its  articles  are  by  experts  and  written  not  only  to  inform  but  to  entertain. 

It    is    a   pictorial    treat.    It    reproduces    the    work    of    the    best    artists    and 
photographers. 

It  gives  you  the  latest  news  of  the  Stage,  of  Society,  of  the  world  of  Fashion. 

It  is  conducting  a  nation-wide  search  for  America's  loveliest  girl. 

It  gives  you  one  extra-special  feature  in  each  number.     But  there  will  be 
TWO  such  features  in  NOVEMBER: 

I — -"The  Place  of  the  Beauty  Specialist  in  the  Community,"  by 
that  internationally  recognized  authority' on  beauty,  Mine.  Helena 
Rubinstein. 

II — The  first  of  a  series  of  articles  on  the  "Rejuvenation  of  the 
Middle-Aged  Woman,"  by  another  well-known  expert,  Carmita 
de  Poleus  Jones. 


ffte<a\it 


'» 


for  NOVEMBER 


Page  Sixty-Nine 


SUADOWLAND 


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awards. 

The  days  may  be  pleasant  now, 
but  it  won't  be  long  before  there 
will  be  a  wild  scramble  for  Fall 
and  Winter  clothes.  And  what 
about  money  for  Christmas 
presents?  December  25th  will 
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plan    as    advertised. 


St.  and  No. 
City 


.State. 


Columette 

{Continued  from  page  48) 


Pierrot : 
One  day,  and  quite  by  chance  it  was,  I  went 
to  see  my  old  friend  Sir  Capocomico. 

Punch : 
Sir    Capocomico,   the   old   alchemist,    by    the 
new  bridge,  where  the  jugglers  show  each  day. 

Pierrot : 
That  same  Sir  Capo  it  was,  and  I  told  him 
of  my  dilemma.  When  I  had  finished,  he  pon- 
dered long  and  then  he  told  me  very  gravely 
that  he  would  aid  me.  By  certain  potions  that 
he  had  concocted  and  by  other  charms  with 
which  he  was  acquainted,  the  ladies  willing, 
he'd  take  them  both  and  make  them  as  snugly 
into  one,  as  if  they'd  both  been  so  conceived. 


Punch : 


It  cannot  be ! 


Pierrot  : 
Ah,  the  cunning  of  Sir  Capo  is  beyond  chal- 
lenge. With  all  the  craftiness  of  his  profes- 
sion he  would  make  their  bodies  one — and  as 
well  their  minds  and  souls.  Their  virtues — 
both  those  of  Pierrette  and  Columbine — he'd 
consummate  with  a  wiliness  that  their  faults 
would  fall  as  quickly  from  them  as  broken 
blossoms   in  the  wind. 

Punch : 
And  the  women  agreed? 
Pierrot  : 
Of    a    certainty    they    agreed.      They    both 
avowed  they'd  rather  die  than  greet  each  dawn- 
ing day  without  me  by  their  side.     Each  was 
afraid  the  other'd  be  the  favored  one  and  this 
plan  quite  put  an  end  to  their  quandary. 

Punch : 
And  even  now  Sir  Capocomico  works  hh  in- 
genious plan? 

Pierrot : 
These  past  seventy-two  hours  he  has  been 
employing  it  diligently  and  it  is  favorable  prog- 
ress that  he  reports.  At  the  stroke  of  twelve 
this  night  he  is  to  send  to  me  here  in  the  gar- 
den, my  beautiful  Pierrette  and  my  wilful  Co- 
lumbine in  one.  At  last  Pierrot,  the  great  lover 
of  all  ages,  is  to  find  his  heart's  desire — the 
perfect  mate. 

Punch : 

But,  Pierrot,  are  you  not  afraid  of 

Pierrot : 
Afraid   of — what  ? 

Punch : 
The  lady.  Will  you  not  be  afraid  to  touch 
her  lest  your  hands  break  her  delicate  self — 
will  you  not  be  afraid  lest  unapprehended  she 
will  blow  away  as  quietly  as  a  puff-ball  in  the 
wind  ? 

Pierrot : 
Pierrot  is  afraid  of  naught.     Love  was  made 
that  Pierrot  might  be  the  lover. 

Punch : 

It  would  be  well,  my  dear  Pierrot,  to  reflect 
a  moment  on  the — consequences  of  such  de- 
sign. Marriage  is  a  perfidious  necklace,  that 
becomes  one  throat,  yet  around  another  is  a 
yoke.  I  have  heard  it  well  said  that  ordinarily 
marriage  is  but  a  progressing  predicament  of 
love,  disillusionment,  and  deception — the  length 
of  time  of  the  first  depending  upon  the  woman, 
the  second  upon  the  man,  and  the  third  upon 
them  both. 

Pierrot  : 

But,  my  dear  fellow,  this  is  no  ordinary 
betrothal. 

Punch : 

Perhaps  not,  but,  if  you  would  take  the  ad- 
vice of  an  uncomely  Punchinello,  you  would 
look  to  the  treachery  of  the  scheme. 

[The  hour  strikes  as  the  last  grains  of  sand 
in  the  hour  glass  trickle  thru.] 

Pierrot : 
The  glass  has  run.     It  is  the  hour  when  all 
my   recent    fretfulness    is   banished   by   a   smile 
that  has  been  fashioned  to  my  own  desire. 


Punch : 
And  it  is  high  time  that  I  am  about  my  woo- 
ing, too.     (He  gets  up  and  puts  the  musical  in- 
strument about  his  neck.)      Farewell,   Piecrot, 
and  happiness  to  you  this  evening. 

Pierrot : 
Farewell  to  you. 

[Punchinello  sings  as  he  goes   out.] 
The  song — 

Red  is  the  warmth  of  fierce  passion  ablaze, 
That  lights  the  dull  nights  in  a  maddening  haze, 
Only  to  flicker  and  wane  as  it  plays, 

Milade. 

Pierrot : 

It  is  the  mystic  hour  of  midnight — that  mo- 
ment when  the  happy  bride  Today  casts  off 
her  wedding  veil — and  is  the  widow  Yesterday 
— that  moment  when  my  Pierrette  and  my  Co- 
lumbine— but  Hark  !     She  comes — 

[Enter  Columette,  dressed  in  soft,  shimmer- 
ing robes  of  white,  that  cling  closely  to  her 
delicate  form.  She  enters  from  the  rear  and 
zvalks  slowly  thru  the  pergola,  standing  on  the 
top  step  between  two  pillars.] 

Pierrot  : 

It  is  my  Pierrette  and  my  Columbine !  Oh, 
most  divine  lady !  with  all  the  virtues  of  the 
two    fairest   daughters    of    earth. 

[Pierrot  comes  closer  and,  holding  out  his 
hand,  he  bows  low.] 

Columette  : 
Yes,  Pierrot,  it  is  I. 

Pierrot : 
My  Pierrette  and  my  Columbine — each  name 
I  would  whisper  as  if   I  loved  the  music  that 
it  made  and  yet  for  the  life  of  me  I"  know  not 
which  to  call  you. 

Columette  : 
Sir  Capocomico  called  me- — Columette. 

Pierrot  : 

Columette — Ah,  a  lovelier  tune.     Columette ! 

(Pierrot  takes  Columette's  hand  and  leads  her 

down    stage.     She    watches    him    quizzically.) 

You  are  glad  to  see  me,   Columette? 

Columette  : 

Yes,  I  think  I  am  glad  to  see  you,  Pierrot. 

Pierrot  : 
You  only  think  you're  glad  to  see  me — but 
perchance  you  are   a   little   strange  to  this  un- 
tried form.     I  must  not  press  you  too  heartily. 
[Pierrot    kisses    Columette    and    she    draws 
back.] 

Columette  : 
Oh! 

Pierrot : 
What  is   the  matter,   Columette? 

Columette  : 
Nothing   is    the   matter — only — only — 

Pierrot  : 
Only  what,   fairest  lady? 

Columette  : 
Your — your  kiss  is  strange ! 

Pierrot : 
(Laughing.)     Not  strange  at  all,   Columette 
— the  same  old  kiss  that  Pierrette  avowed  was 
life   itself   to  her. 

Columette  : 
Did  Pierrette  ever  say  that? 

Pierrot  : 
Of  course  she  did.     And  Columbine  averred 
that  very  kiss  brought  forth  her  song. 

Columette  : 
And  did  Columbine  ever  say  that? 

Pierrot : 
Of  a  certainty.     You  see,  dear  Columette,  it 
is  Pierrot's  kiss  after  all — and  not  strange,  but 
from  the  very  lips  that  bring  eternal  happiness 
to  Columette. 


Page  Seventy 


SllADQWlAND 


COLUMETTE  : 

It  seems  so  different — and  satisfies — so  little. 
Pierrot  : 

You  jest,  fair  Divinity.  I  see  the  old  Co- 
lumbine still  up  to  her  wilful  wiles.  This 
singular  strangeness  will  soon  tire  itself  out 
and  once  more  in  Pierrot's  loving  you'll  live 
anew  the  fullest  of  life.  (Cohunctte  starts  to 
laugh.)  I  pray,  Columette,  at  what  are  you 
laughing  ? 

Columette  : 

Why,   Pierrot,   it  must  be  at  you. 

Pierrot  : 

At  me !  And  what  is  there  of  Pierrot  to 
laugh  at? 

Columette  : 

By  all  these  stars,  I  swear  I  do  not  know — 
(she  laughs  heartily) — but  somehow  it  gives 
me  a  great  pleasure  to  laugh. 

Pierrot : 
You  bewilder  me. 

Columette  : 
Perhaps  it  is  your  hat.  It  looks  so  funny. 
Take  it  off,  Pierrot.  (Pierrot  takes  off  his  hat 
and  she  breaks  out  in  laughter  again.)  I  know 
not  whether  you  look  funnier  with  your  hat  off 
or  on.  Put  it  on  again.  (Pierrot  puts  it  on 
again — and  she  laughs  all  the  more.)  To  my 
eyes  I  guess  it  makes  but  little  difference. 

Pierrot  : 
You  laugh  at  Pierrot — I  cannot  well  believe 
it — and  on  the  morrow — 

Columette: 
What  about  the  morrow? 

Pierrot : 
You  take  him  as  a  husband. 
Columette: 
Columette   take    Pierrot    as   husband   on    the 
morrow !     Oh,  the  scampering  elves  have  been 
up  to  some  merry  prank ! 

Pierrot : 
Columette,  my  ears  do  play  me  false ! 

Columette  : 

Your  ears  do  play  you  false — I'd  say  it  was 
your  wits.  You,  Columette's  husband — ah,  no, 
dear  Pierrot.  Columette  is  virtue — it  is  perfec- 
tion its  very  self  that  she  would  wed.  And, 
Pierrot,  the  Perfect  Lover,  is  not  Pierrot,  the 
Perfect  Mate.  But — come — we  parley  time — I 
must  away.  To  you,  Pierrot,  I  leave  the  garden 
and  its  moonlight — if  you  are  wise,  you'll  re- 
main there  and  not  tamper  with  your  lot,  for 
there — you're  really  at  your  best. 

[She  glides  to  the  rear  of  the  stage,  pausing 
a  moment  on  the  top  step  of  the  pergola.] 

Pierrot  : 
Columette — 

Columette  : 
No,  no,  Pierrot — (she  throws  a  bit  of  a  kiss 
to  him) — a  merry  night  to  you. 
[Exit  Columette — hurriedly.] 
(Curtain.) 


Announcement 

We  have  pleasure  in  announcing  that 
the  well-known  writer,  Jerome  Hart,  has 
joined  the  staff  of  Shadowland  as  As- 
sociate Editor.  Formerly  editor  of  the 
"London  Globe"  principal  editorial  writer 
and  music  critic  of  the  "New  York 
Herald,"  Mr.  Hart  has  had  world-wide 
experience,  and  his  travels  have  brought 
him  into  contact  and  association  with 
many  eminent  people  and  persons  in  the 
public  eye.  There  are  few  writers  today 
with  a  broader  and  more  comprehensive 
background,  and  he  is  specially  qualified 
to  deal  zvith  Music  and  Art   matters. 


An  Aristocrat  in 
Bohemia 

(Continued  from  page  39) 

connections,  but  on  his  artistic  merits,  which 
are  undeniable. 

Bob  is  in  fact  a  very  clever  fellow,  tho  some 
would  say  a  bit  erratic.  But  that  is  ever  the 
way  with  genius.  And  whatever  his  eccentri- 
cities, he  is  never  guilty  of  those  extraordinary 
aberrations  and  epileptic  manifestations  yclept 
futurism,  cubism,  expressionism,  or  whatever 
fresh  name  may  be  found  for  the  hideous  tra- 
vesties in  painting  and  sculpture  which  demon- 
strate nothing  so  much  as  that  the  perpetrators 
have  not  learned  the  merest  fundamentals  of 
the  art  they  affect  to  practise. 

He  may  never  kave  been  a  social  butterfly,  but 
time  was  when  Bob  Chanler  flitted  about 
Europe,  especially  Paris,  and  was  a  prominent 
figure  in  the  coulisses  and  cabarets.  He  sur- 
rounded himself  with  a  temporary  blaze  of 
glory  by  marrying  one  of  the  most  beautiful 
women  of  her  day,  Lina  Cavalieri,  who  gradu- 
ated from  the  cafe  chantant  into  grand  opera. 
Altho  this  dazzling  matrimonial  venture  was  of 
brief  duration,  he  will  tell  you  himself  that, 
so  far  from  regretting  it,  it  was  an  experience 
worth  all  and  more  than  it  cost  him,  and  it  is 
said  that  the  beautiful  Roman  singer  had  a 
very  pretty  taste  in  jewelry. 

A  Cosmopolitan 

Today  he  is  wedded  to  his  art,  altho  he  still 
has  an  eye  for  a  pretty  woman,  for  has  not 
Claire  Sheridan  told  the  world  in  her  very 
frank  American  diary  how,  in  a  fit  of  uncon- 
trollable enthusiasm,  Bob  kissed  her  on  the  neck 
while  dancing  with  her,  and  he  has  never  con- 
tradicted it? 

A  cosmopolitan  and  a  convive,  his  conversa- 
tion is  no  less  colorful  than  his  palette.  He 
shines  at  invective,  and  levels  his  verbal  shafts 
equally  at  the  rich  for  their  contemptuous 
patronage  of  art,  the  bourgeoisie  for  their 
smug  complacency  in  accepting  anything  and 
everything  that  is  thrust  upon  them  in  its  name, 
and  at  some  of  the  protagonists  and  hangers-on 
of  the  modern  movement. 

Listen  to  him  as,  goblet  in  hand,  filled  with 
a  beautiful  amber-colored  beverage,  he  pro- 
claims his  views  urbe  et  orbi: 

"This  is  the  day  of  flivvers,  victrolas,  jazz, 
player-pianos,  telephones,  and  buzzing,  bawling 
radios,"  he  says,  and  pauses   for  a  drink. 

"Everyone  is  in  a  hurry  and  on  the  jump, 
and  we  have  all  of  us  more  or  less  caught  the 
infection.  I  know  I  have.  The  old  artist- 
craftsman  did  not  live  the  hectic,  complicated, 
confusing  life  that  we  live  nowadays.  No  won- 
der he  could  produce  such  exquisite  examples 
of  painting,  sculpture  and  architecture.  Dont 
think  I  am  altogether  against  the  moderns.  I 
am  not.  I  try  to  be  one  myself — sometimes. 
But  too  many  of  them  make  the  mistake  of 
thinking  that  art  is  easy.  It  isn't.  It  is  hard, 
devilishly  hard !" 

And  saying  this,  he  runs  his  hands  thru  his 
thick  and  tumbled  hair  with  an  eloquent  ges- 
ture and  takes  another  drink. 

Art  that  is  Anti-Academic 

Certainly  Robert  Winthrop  Chanler  works 
hard  enough  himself,  combining  the  first  fine 
frenzy  of  inspiration  with  the  meticulous  at- 
tention to  detail  of  the  craftsman  who  loves 
his  work.  His  drawing  and  painting  are 
frankly  anti-academic,  influenced  alternately 
by  the  art  of  the  Renaissance,  the  Pre-Raph- 
aelites,  and  the  Far  East.  But  there  is  no 
studied  eccentricity,  no  rebellious  realism,  nor 
hasty  blurred  impressionism.  It  is  all  tremend- 
ously vigorous  and  daring,  and  in  its  way  im- 
mensely effective,  and  it  possesses  sometimes  a 
spontaneous  symbolism  which  is  impressive  by 
reason  of  its   apparent  unconsciousness. 

And  thus  it  is  that  his  elaborately  decorative 
and  sometimes  almost  impassioned  screens  and 
murals  have  become  very  much  the  vogue,  and 
are  to  be  found  not  only  in  the  seats  of  the 
mighty  and  the  homes  and  haunts  of  the 
wealthy  and  artistic,  but  also  in  several 
museums    and   art   galleries. 


Was  it  really 
her  fault? 

SHE  possessed  all  of  the  attributes 
that  ordinarily  make  for  popu- 
larity. Yet  something  seemed  to  stand 
in  her  way — something  seemed  to  hold 
her  back. 

The  men  she  longed  most  to  fasci- 
nate took  only  a  casual  sort  of  interest 
in  her.  They  seemed  attracted  to 
her  at  first,  but  quickly  they  would 
lose  interest.  Some  other  girl,  often 
much  less  attractive  than  she,  would 
then  step  into  her  place. 

The    tragic    mystery    of    it    all    was 
making  her  life  miserable. 
#    •*    * 

Halitosis  may  be  only  a  little  thing  in 
itself.  Yet  what  untold  misery  it  may 
cause!  And  all  because  even  a  person's 
best  friends — prudishly,  perhaps — will  in- 
sist upon  dodging  this  subject.  It  seems  too 
intimate  to   mention. 

Halitosis — the  medical  term  for  unpleas- 
ant breath — is  an  insidious  thing.  Nine 
times  out  of  ten  the  person  so  suffering 
does  not  know  it,  herself.  Your  mirror 
can't  tell  you.  You  cannot  detect  it.  And 
all  the  while  you  may  be  offending  those 
about  you — unawares. 

There  is  a  way,  however,  to  be  sure  your 
breath  is  right.  Unless  halitosis  is  due  to 
some  deep-seated  organic  disorder  which 
needs  professional  correction,  you  may 
easily  put  yourself 'on  the  safe  and  polite 
side  by  using  Listerine  regularly  as  a  gar- 
gle   and   mouth   wash. 

Listerine  has  the  peculiar  ability  to  halt 
food  fermentation  which  is  so  often  the 
cause  of  halitosis.  It  leaves  the  breath 
sweet,  fresh  and  clean.  Most  cases  of 
halitosis,  fortunately,  will  yield  quickly  to 
this  simple  treatment. 

Then  you  have  put  your  mind  at  ease 
and  you  are  comfortable  and  natural  in 
conversation    with    those    about   you. 

With  so  simple  a  precaution  available, 
why  put  in  unhappy  moments  wondering 
whether  or  not  your  breath  is  as  it  should  be. 

Your  druggist  has  and  recommends 
Listerine.  For  half  a  century  it  has  held 
its  place  as  the  safe  antiseptic.  Dozens  of 
uses  are  described  in  the  circular  attached 
to  each  bottle. — Lambert  Pharmacal  Co., 
St.  Louis,  U.  S.  A. 


Page  Seventy-One 


You  Can  Be  a  Star  Like 
Tkis  Lady  and  Earn  Big 
Money  in  Spare  Time 


Introducing    MRS.    FANNIE    H.    JONES,   a   "Star" 
Subscription    Representative,    now    on   our   staff. 

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desire  a  permanent  income,  you  can 
get  it  thru  a  plan  that  has  stood  the 
extreme  test  of  time. 

Mrs.  Fannie  Jones  heartily  endorses 
our  plan,  because  it  has  been  the 
means  of  her  realizing  her  ambition 
of  an  independent  income.  What  she 
has  done,  others  can  do. 

EARN  $100.00  A  MONTH 
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Both  spare  time  and  full  time  repre- 
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If  you  can  use  more  money,  it  will  pay  you  to 
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-CUT   HERE- 


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Please  tell  me  how  I  can  make  money  as  your 
representative. 

Name 

Street  No 

City State 


Too  Far  to  the  Left 

(Continued  from  page  25) 


getting  sufficient  rehearsals,  which,  as  he  ieel- 
ingly  remarked,  is  bad  for  everybody,  particu- 
larly the  composer. 

"In  America,"  Rachmaninoff  went  on  to  say, 
scarcely  with  his  usual  accuracy,  "you  never 
hear  that  it  is  impossible  to  get  sufficient  re- 
hearsal." 

Conditions  have  improved  only  very  recently 
in  this  respect  in  New  York,  a  fact  due  to  the 
generosity  of  a  few  wealthy  music  lovers,  whc 
have  paid  for  extra  rehearsals  out  of  their 
own  pockets,  and  who,  in  fact,  largely  subsidize 
the  leading  orchestras.  But  even  some  of  these 
musical  Midases  were  staggered  by  the  bills 
for   rehearsals  piled  up  by   Mengelberg. 

In  London  since  the  war  there  are  few 
if  any  very  wealthy  music  lovers,  men  who 
devoutly  love  music  and  are  willing  to  spend 
largely  in  order  that  others  less  fortunately 
placed  than  themselves  may  hear  the  best  pos- 
sible music  at  the  lowest  possible  cost. 

Sir  Edgar  Speyer  was  once  the  financial 
mainstay  of  the  Queen's  Hall  Orchestra,  but 
for  certain  sufficient  reasons  he  left  England, 
and  has  taken  up  his  residence  in  this  country, 
a  residence  varied  by  occasional  visits  to  Ger- 
many. Possibly,  had  he  found  it  convenient  to 
stay  in  London,  the  enormous  excess  tax  on 
large  incomes  would  have  prevented  him  from 
continuing  his  musical  benefactions.  Certainly 
no  one,  not  even  Lord  Howard  de  Walden,  one 
of  the  richest  musical  amateurs  in  London,  has 
been  found  to  take  Sir  Edgar's  place. 

But  all  this  is  scarcely  to  the  point. 

While_  chiding  the  extreme  Modernists  or 
Bolshevists,  Rachmaninoff  finds  it  in  his  heart 
to  be  complimentary  to  certain  English  com- 
posers. He  mentions  that  in  New  York  last 
season  he  heard  Vaughan  Williams'  new  Lon- 
don Symphony  conducted  by  Coates ;  that  he 
had  previously  heard,  in  Russia,  Elgar's 
"Enigma'  Variations  and  Violin  Concerto,  and 
also  one  of  Bantock's  earlier  orchestral  poems. 

Of  the  last,  his  recollections  seem  to  have 
been  not  very  strong.  The  symphony  by 
Vaughan  Williams,  however,  struck  him  as  it 
did  other  sound  judges,  as  a  work  of  rare 
beauty  and  significance.  Rachmaninoff  greatly 
admires  the  two  works  of  Elgar,  tho  much  pre-  ■ 
ferring  the  variations.  The  latter  composition, 
he  added,  is  a  very  great  one  indeed. 

Incidentally,  one  saw  a  good  deal  of  Rach- 
maninoff last  season  in  New  York  at  the 
symphony  concerts  as  an  auditor,  those  which 
he  principally  patronized  being  the  concerts  of 
the  Philadelphia  Orchestra  and  one  or  two 
conducted   by    Coates. 

All  the  leading  musicians,  as  a  fact,  attended 
the  concerts  of  the  Philadelphia  Orchestra, 
which  Stokowski  has  converted  into  the  finest 
symphonic  instrument  in  the  world  today, 
better  even  than  the  Boston  at  its  best. 


Speaking  of  the  younger  Englishmen,  like 
Goossens  and  Frank  Bridge,  Rachmaninoff 
frankly  confessed  that  they  were  beyond  his 
comprehensions,  tho  the  light  touch  and  inter- 
play of  the  parts  in  the  latter's  chamber  music 
arrangement  of  "Cherry  Ripe"  and  "Sally  in 
Our  Alley"  had  pleased  him,  as  they  did  many 
others  who  heard  Mr.  Bridge's  work  done  in 
New  York.  Goossens  may  be  a  musical  genius, 
but  he  succeeds  in  disguising  the  fact  very 
thoroly  in  the  vagrant,  scrappy  themes  and  in- 
harmonic surprises  in  which  he  is  so  fond  of 
expressing  himself. 

When  my  old  friend  Herbert  Antcliffe — him- 
self a  musician  and  a  skilled  writer  on  the 
divine  art — interviewed  Rachmaninoff  in  Eng- 
land, he  was  somewhat  surprised  that,  after 
his  remarks  on  modern  music  and  its  tendencies, 
the  composer  should  have  spoken  approvingly 
of  Medtner,  and  even  suggested  study  of  the 
Russian  composer's  works. 

"Of  Medtner !"  exclaimed  Antcliffe.  "But 
you  say  you  have  no  sympathy  with  the 
modernists.  Surely  Medtner  is  a  modernist  of 
modernists  !" 

At  this  Rachmaninoff's  dark,  sad  Muscovite 
face   lighted   up   with   one   of  his   rare   smiles. 

"Yes,"  he  said,  "but  Medtner  is  different. 
He  is  a  great  man." 

Which  he  certainly  is.  The  difference  be- 
tween Medtner  and  most  of  the  young  moderns 
is  the  difference  which  exists  between,  say,  the 
works  of  Cezanne  and  the  young  so-called  ex- 
pressionists, who  display  their  alleged  pictures 
at  the  exhibition  of  the  Independents  in  the 
Waldorf-Astoria. 

Medtner,  incidentally,  is  of  German  origin, 
altho  he  received  his  musical  training  in  Mos- 
cow and  came  under  the  strongest  Russian  in- 
fluences. His  earlier  compositions  showed 
kinship  with  Brahms,  and  in  some  cases  were 
of  magnificent  quality ;  in  fact,  I  have  often 
wondered  at  their  neglect. 

Nevertheless,  while  sharing  Rachmaninoff's 
admiration  for  Medtner,  I  am  disposed  to  be 
curious,  if  not  skeptical,  with  regard  to  his 
later  work,  which  I  have  not  heard. 

One  fears  that  Paul  Rosenfeld  will  be 
tempted  by  the  remarks  of  Rachmaninoff  to 
indulge  in  one  of  his  perfervid  and  picturesque 
diatribes  in  the  Dial.  However,  the  great 
Russian  has  survived  Mr.  Rosenfeld's  previous 
onslaught,  in  which  he  said,  among  other 
cutting   things : 

"M.  Rachmaninoff  comes  among  us  like  a 
very  charming  and  amiable  ghost." 

If  all  ghosts  were  as  sane  and  pointed  in 
their  utterances  as  the  composer  of  "It"  and 
the  brilliant  and  exhilarating  E  Minor  Piano 
Concerto,  there  might  be  more  convinced  con- 
verts to  spiritism.  But  better  a  musical  ghost 
than  a  musical  Bolshevist,  tho  it  is  just  pos- 
sible Mr.  Rosenfeld  might  think  otherwise. 


Page  Seventy-Two 


^UIADOWLAND 


The  Takeuchis 

(Continued  from  page  33) 

is  mentioned.  This  may  be  a  slight  exaggera- 
tion, but  it  is  not  an  exaggeration  to  say  that 
artists  from  all  over  the  world  go  to  see  Seiho's 
famous  ceiling  decorations  in  the  temple  at 
Hongwange. 

It  was  inevitable  that  Japan,  as  she  began  to 
have  relations  with  the  various  Western  na- 
tions, would  sooner  or  later  feel  their  influence 
in  her  art,  which  had  reached  a  period  of  stag- 
nation during  her  isolation.  The  Government 
recognized  the  new  school,  when,  in  1876,  it 
engaged  as  an  instructor  Antonio  Fentanesi,  an 
Italian  artist,  of  the  idealist  school ;  and  Charles 
Wirgman,  at  that  time  Far  Eastern  correspond- 
ent of  the  Illustrated  London  News,  taught 
the  Japanese  a  great  deal  about  the  Western  art. 

In  1890  the  Government,  growing  suddenly 
conventional,  excluded  the  pictures  of  the  West- 
ern school  from  the  National  Exhibition.  This 
setback  merely  irritated  the  modernists  and  in- 
creased the  flow  of  art  students  from  Japan  to 
America  and  Europe.  During  this  period  much 
credit  must  be  given  to  Kiyoteru  Koroda  and 
Kelichiro  Kume,  pupils  of  Raphael  Collin,  who 
were  leaders  in  the  fight  for  recognition  of  the 
new  school.  Gradually  the  Government  swung 
into  line,  and  at  length  showed  enough  interest 
to  send,  at  government  expense,  some  of  her 
most  promising  art  students  abroad  to  study. 

This  is  a  rapid  summarization  of  the  growth 
of  the  school  of  which  Seiho  and  Itsuzo  are 
leaders.  Itsuzo  says  further  in  his  letter  to 
Katherine  Sturges : 

"The  works  of  Brangwyn  are  also  being  dis- 
cussed. But  we  are  only  facing  the  works  thru 
the  reproductions.  I  have  some  books  about 
Brangwyn,  but  I  haven't  the  book  you  presented, 
the  best  book  yet  for  study. 

"No  Japanese  likes  to  discuss  painters,  un- 
less they  have  many  reproductions  of  their 
works.  I  think,  they  must  at  the  same  time 
read  good,  critical  books,  then  they  can  almost 
reach  to  the  point.  But,  if  the  people  can  catch 
the  reproductions,  they  soon  hold  up  both  hands 
and  say,  like  mountebanks,  'Wadinsky  ! 
Rodin !  Brangwyn.'  Who  can  truly  feel  the 
depth  of  soul?  Thus  we  have  already  passed 
from  Cimabue  and  Giotto  to  Cubism  and  Fu- 
turism. Japanese  are  always  apt  to  throw  this 
human-bullet  on  events  of  the  moment.  Of 
course,  we  try  to  conduct  this  spirit  in  a  good 
way. 

"At  present,  I  am  intending  to  introduce  to 
my  friends  the  art  of  Robert  Henri.  In  a  few 
years  we  will  have  a  good  art  collection  in 
Tokyo.  Mr.  Matsukata  (master  of  the  Kawa- 
saki dockyard)  has  brought  back  many  Eur- 
opean pictures,  from  the  Vevel  collection  in 
Paris.  Mr.  Vevel  spent  forty  years  making 
this  collection,  and  Mr.  Matsukata  bought  it 
complete. 

"My  father  and  I  with  some  friends  were  in- 
vited to  a  private  showing  a  few  days  ago,  and 
what  we  saw  was  truly  astonishing  for  us. 
The  color  prints  amount  to  about  nine  thousand 
pieces,  all  the  illustrations  of  the  book  by  Seid- 
litz,  'A  History  of  Japanese  Color  Prints,'  are 
contained  in  it.  Moreover,  there  are  about 
three  hundred  European  paintings — some  Greek 
and  many  Rodin  models.  For  instance,  he  has 
twenty  works  of  Courbet  and  twenty-five  Gau- 
gins,  some  Van  Goghs,  with  many  Corots, 
Turners  and  Goyas ;  even  one  pencil  work  of 
Raphael.  He  has  almost  world-famous  painters' 
works.  He  is  very  fond  of  Brangwyn,  and 
bought  many  of  his  large  works.  This  collec- 
tion, when  it  is  built  up,  supplemented  by  your 
presented  book  on  Brangwyn,  must  be  the  first 
text  for  my  study,  which  will  be  a  great  help 
in  enabling  me  to  make  my  people  understand 
better  Brangwyn's  work." 

Itsuzo's  letter  has  been  quoted,  practically 
verbatim,  with  only  a  few  of  his  quaint  idioms 
changed  for  greater  clarity.  It  shows  how  hard 
the  Japanese  are  working  to  absorb  Occidental 
art.  Even  in  the  very  poor  paintings  that  they 
often  turn  out,  when  endeavoring  to  follow  too 
faithfully  some  foreign  school  and  so  getting 
a  great  many  of  the  faults  with  the  virtues, 
there  is  a  very  evident  sincerity  of  purpose 
shown. 


Do  Women  Dress  For  Men? 


This  is  the  most  widely  argued  question  on  record.  But  it  is 
settled  at  last.  And  by  those  absolute  authorities  on  MEN,  WOMEN 
and  DRESS — Gloria  Swansea:  and  Antonio  Moreno.  Perhaps  they 
disagreed  at  first.  If  so,  was  it  Gloria  who  changed  Antonio's  mind, 
or  Antonio  who  persuaded  our  Gloria  that  he  was  the  wiser?  The 
November  Motion  Picture  Magazine  will  tell  you. 

In  this  same  number  Gladys  Hall  and  Adele  Whitely  Fletcher 
will  give  you  another  of  their  sparkling  interview-playlets.  Theda 
Bara  appears  in  the  leading  role. 

And  do  not  overlook  another  bit  of  information  and  entertain- 
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art  titles,  and  answers  that  annoying  question:  Why  is  a  sub-title? 

Pictorially  the  magazine  never  was  better.   Do  not  miss  it.   On  all 
news-stands  October  first. 

NOVEMBER 

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MAGAZ.INE 


We   have   prepared   a   booklet  entitled 

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Page  Seventy-Three 


SuADOWLAND 


Superfluous 
Hair 

Can  be  permanently 
removed  and 

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is  a  method  known  to  science 
which 

Permanently 
Destroys 
Hair  Growth 

A  child,  almost,  can  operate 
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EDWARD  BRUESTEL 

JAMAICA,     -     NEW  YORK 


The  Passing  of  Stage 
Decoration 

{Continued  from  page  29) 

noted  this  about  the  German  designs :  "If  one 
were  to  name  the  two  most  noticeable  tenden- 
cies away  from  the  new  stagecraft  as  prac- 
tised in  America,  one  would  be  the  open- 
ing-up  of  the  stage  into  a  sort  of  black  void, 
in  which  the  action  is  picked  out  with  concen- 
trated lights."  Since  writing  that,  I  have  seen 
some  thirty  productions  in  German  theaters,  and 
I  wish  to  say  more  about  that  void  as  back- 
ground  in   actual   operation. 

In  the  first  place  there  are  those  producers 
who  utilize  the  void,  but  with  some  vestige 
of  highly  stylized  plastic  decoration  remaining. 
Thus  Leopold  Jessner,  Intendant  of  the  State 
Theater  in  Berlin,  and  the  man  most  talked 
about  as  Reinhardt's  successor  in  leadership  of 
the  German  stage,  often  sets  a  scene  by  build- 
ing some  sort  of  platform,  itself  decorative  in 
form,  against  what  is  practically  a  curtain  of 
darkness  or  of  diffused  light.  In  "Don  Carlos" 
the  opening  scene  was  of  this  character.  When 
the  curtain  rose,  one  had  an  impression  of 
looking  into  a  limitless  stage  on  which  had 
been  placed  a  shaped  terrace  or  platform,  a  bit 
rococo  in  its  curved  outline,  and  regally  ex- 
pressive in  its  coloring.  Everything  from  plat- 
form to  forestage  was  carpeted  in  rose  red, 
and  to  give  added  distinction  the  steps  were 
edged  in  gold,  and  the  false  proscenium  was 
black  with  a  gold  edging.  The  whole  was  a 
tour-de-force  in  distinction,  in  elegance  (really 
no  other  word  will  do),  and  its  effectiveness 
was  increased  three-fold  by  placing  it  against 
the  immense  all-enveloping  horizon — as  im- 
palpable and  unobtrusive  as  a  faintly  flushed 
sky.  Again  and  again  in  the  play  (for  there 
are  nearly  twenty  scenes),  there  was  this  use 
of  neutral  or  limitless  or  blacked-out  back- 
ground, sometimes  with  the  whole  stage-floor 
in  use  as  in  the  first  scene,  again  with  only  a 
figure  or  two  lighted  down  front.  I  was  told 
that  Jessner,  working  with  Emil  Pirchan,  had 
used  similar  settings  freely  for  the  State  Thea- 
ter productions  of  "Othello"  and  "Richard 
III";  in  the  former  at  times  a  platform  and 
nothing  more,  in  the  latter  a  terrace,  then  a 
staircase. 

Simplification  vs.  Elimination 

In  other  productions,  Jessner  has  tried  to  get 
down  to  the  same  simplicity  in  staging  realis- 
tic plays.  Perhaps  the  most  interesting  exam- 
ple of  half-way  elimination  of  decoration  is  to 
be  found  in  a  setting  for  Wedekind's  "Marquis 
von  Keith,"  illustrated  herewith.  The  sub- 
stitution of  a  screen  for  walls,  and  the  absence 
of  a  ceiling,  side  walls  or  any  but  the  absolutely 
essential  properties,  obviously  mark  a  step  be- 
tween "normal"  simplification  and  elimination 
of  setting. 

Similar  to  the  "Don  Carlos"  in  marking  al- 
most-complete elimination  of  background  were 
certain  scenes  that  I  saw  in  the  Berlin  Volk- 
biihne's  production  of  "King  Lear,"  and  the 
Prince  Regent  Theater  production  of  "Hamlet" 
at  Munich,  as  staged  by  Erich  Engle,  Adolf 
Linnebach  and  Leo  Pasetti.  In  the  "Lear," 
Hans  Strobach  built  some  remarkable  dramatic 
scenes  with  a  sort  of  hilltop-against-the-sky  ef- 
fect, and  several  times  he  used  merely  a  wall  or 
platform  in  silhouette  against  the  sky -dome. 
In  the  "Hamlet  the  most  memorable  scenes 
were  those  where  the  stage  was .  open,  with 
merely  platforms  against  a  dark  or  half -lighted 
horizon.  The  action  was  picked  out  of  the 
darkness  by  spots  and  local  floods.  In  the 
cleverness  of  the  lighting  and  the  restriction  of 
decoration,  I  thought  I  detected  especially  the 
influence  of  Adolf  Linnebach,  long  a  crusader 
for  the  simple  stage.  A  few  days  earlier  I  had 
seen  a  production  of  "A  Midsummer  Night's 
Dream"  at  Linnebach's  own  theater,  the  Dres- 
den Schauspielhaus,  and  noted  the  well-nigh 
perfect  lighting  and  the  extreme  simplification 
of  settings — but  with  curtains  and  gauzes 
cushioning  the  eye  at  the  back  instead  of  a 
horizon. 

If  Jessner,  Linnebach  and  some  others  prac- 
tically eliminate  background  while  still  hold- 
ing by  a  hair  to  the  older  types  of  staging  and 
to  reality,  with  a  column  here,  a  balustrade 
there,  or  a  tree-form  to  suggest  a  forest,  there  | 


The  New  Corliss  Palmer 
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None  Too  Good 

Infinite  pains  have  been  taken  by  Miss 
Palmer  to  perfect  these  preparations  as 
to  ingredients,  which  are  of  the  best. 
Miss  Palmer  personally  supervises  the 
making  of  all  her  preparations  and  never 
allows  any  article  to  leave  the  laboratory 
without  a  long  trial  of  it  by  herself. 
She  is  a  severe  critic  on  the  art  of  make- 
up and  insists  that  by  clever  use  of  her 
preparations  a  person  'shall  not  appear 
"made-up,"  but  bring  out  the  beauty  and 
hide  the  blemishes. 

We  Guarantee  our 
Preparations  to  Be  Harmless 

We  enclose  directions  written  person- 
ally by  Miss  Palmer.  You  cannot  go 
wrong  if  her  words   are   heeded. 

A  Special  Word  Must  Be  Said 

of  Our  Creams — They  Are 
Exquisite  and  Without  Equal 

CORLISS  PALMER  FACE 
POWDER    $1.00 

CORLISS  PALMER  FOUNDA- 
TION CREAM— A  heavy,  flesh- 
color  cream  that  will  hide  all 
blemishes  and  make  the  powder 
stick  on  as  will  nothing  else.  To 
cover  a  pimple,  or  a  red  nose,  or 
the  whole  face  for  an  all-day 
make-up,  there  is  nothing  like  it. .     .50 

CORLISS  PALMER  FACE 
ROUGE     50 

CORLISS  PALMER  LIP  ROUGE     .50 

THE  FOUR,  attractively  boxed  in 
set    2.50 

CORLISS  PALMER  VANISHING 
CREAM— A  light,  dry  cream  of 
purity,  to  be  used  in  the  morning, 
or  at  any  time,  to  freshen  the  skin 
and  make  a  foundation  for  the 
face  powder    75 

CORLISS  PALMER  CLEANS- 
ING OR  NIGHT  CREAM  — A 
heavier  cream,  to  cleanse  the  face 
at  night  and  to  soften  and  beautify 
the  skin    75 

CORLISS  PALMER  LEMON 
CREAM — An  exquisite  cream  of 
even  texture,  purity  and  loveli- 
ness. For  general  use  on  the  face 
and  body .75 

THE  THREE,  attractively  boxed 
in   set    2.25 

CORLISS  PALMER  BEAUTI- 
FIER— A  lotion  of  the  finest 
quality,  for  those  who  do  not  care 
for  creams  as  a  cleanser.  An 
absolute  corrector  of  an  oily  com- 
plexion, a  bleacher,  an  astringent, 
healer  of  blemishes,  and  a  very 
great  enemy  of  wrinkles 60 

Impressions  Are  Lasting 

Look  Your  Best  at  All  Times 

We  will  mail,  postpaid,  any  of  the 
above  preparations  on  receipt  of  price  in 
stamps,  cash,  or  money  order.  (In  mail- 
ing coins,  wrap  them  carefully  to  prevent 
them  cutting  a  hole  in  your  envelope.) 

RICHARD  WALLACE 
BROOKLYN,  N.  Y. 


Page  Seventy-Four 


Suiaoqwland 


are  those  who  cast  loose  entirely  from  recog- 
nizable objects  and  any  sense  of  locality.  Per- 
haps the  best  example  in  the  larger  theaters  is 
the  Volksbiihne's  production  of  "Masse 
Mensch"  under  the  direction  of  Jurgen  Fehl- 
ing  and  in  "settings"  by  Hans  Strohbach.  Of 
the  seven  scenes  five  were  played  on  variously 
arranged  black  platforms  against  an  open 
stage  (of  which  the  walls  were  entirely  lost 
in  darkness)  or  against  black  curtains.  The 
platforms  as  such  were  practically  never  visible, 
the  light  seldom  touching  more  than  the  little 
area  in  which  the  actors  moved.  From  these 
scenes  everything  in  the  nature  of  decoration 
and  all  props  had  been  eliminated.  The  other 
two  touched  recognizable  reality  at  only  one 
point,  where  the  black  curtains  at  the  top  of 
the  platforms  parted  and  showed  the  bases  of 
two  immense  columns ;  the  other  scene  was  an 
atmospheric  one  in  which  askew  cliff-like 
shapes,  half  lost  in  darkness,  enclosed  the 
stage. 

"Masse  Mensch" 

Did  the  play  lose  anything  for  lack  of  recog- 
nizable backgrounds?  I  judge  not,  from  the 
fact  that  I  have  not  been  so  moved  by  any 
production  in  a  theater  for  years — and  that  in 
spite  of  a  very  imperfect  understanding  of  the 
German  language.  From  the  moment  when 
the  curtain  rose  and  three  spotlights  came  up 
on  three  figures  standing  out  on  a  black  stage, 
to  the  closing  of  the  final  curtains  on  an  ar- 
rangement of  platforms  and  stairs  against 
black  curtains,  the  spectator  was  held  tense. 
The  play,  of  course,  is  swift,  concentrated,  pre- 
cipitate, "pressed  down  and  running  over" — ■ 
which  brings  up  the  question  of  the  influence 
of  expressionistic  playwriting  on  stage  setting. 
There  is  doubtless  more  than  mere  coincidence 
in  the  simultaneous  arrival  of  expressionist 
playwrights  and  widespread  staging  without 
decoration.  In  the  first  place,  of  course,  these 
new  dramatists  write  their  plays  as  long  series 
of  short  scenes,  rather  than  in  the  usual  three 
or  four  acts,  and  that  in  itself  is  an  impetus 
toward  inelaborate  settings.  But  more  im- 
portant, the  whole  theory  of  Expressionism,  in 
the  theater  as  in  painting,  minimizes  the  im- 
portance of  locality  and  setting  ;  its  aim  is  to 
intensify  and  express  an  emotion,  lifted  out  of 
time  and  place,  and  it  distorts  or  eliminates  out- 
ward aspects  of  nature  if  that  seems  to  in- 
tensify further  the  central  feeling.  And  so, 
where  distorted  expressionistic  painting  is  not 
utilized  in  the  background,  those  backgrounds 
tend  to  disappear,  to  become  voids.  It  is  no 
chance  that  "Masse  Mensch"  is  possibly  the 
best  example  of  Expressionist  playwriting 
to  reach  production  and  at  the  same  time  one 
of  the  best  examples  of  decorationless  staging. 

Then,  too,  there  is  the  matter  of  poverty.  It 
would  be  only  a  spendthrift  theater  that  could 
afford  in  Germany  or  Russia  today  to  stage  a 
seven-scene    play    in    the    elaboration    of    other 


times.  Economy  has  forced  simplification — and 
the  necessity  has  brought  its  virtues.  The  first- 
class  German  theater,  be  it  noted,  is  such  that 
it  can  attain  effects  on  an  empty  stage  which 
are  impossible  in  nine  out  of  ten  American 
theaters.  In  the  first  place  there  is  the  matter 
of  depth.  When  you  localize  light  on  a  group 
of  actors  in  the  center  of  a  stage  like  the 
Volksbiihne's,  the  background  is  far  enough 
away  so  that  it  catches  none  of  the  light  rays, 
leaving  a  blanket  of  darkness  behind  the  illu- 
minated actors ;  but  the  average  American  stage 
is  so  shallow  that  the  backdrop,  cyclorama  or 
stage  wall  is  bound  to  come  within  any  but  the 
smallest  area  of  illumination.  The  plaster  half- 
dome  or  horizon  which  is  so  common  a  back- 
ing on  German  stages,  moreover,  swallows 
light,  or  gives  it  off — becomes  merely  distance, 
dark  or  light — much  better  than  any  substitute 
so  far  offered.  In  other  words,  when  stage 
decoration  is  eliminated  in  Germany,  the  play 
is  acted  out  in  the  nearest  approach  to  a  void 
that  can  be  imagined.  What  American  in- 
genuity may  invent  to  overcome  the  handicap 
of  shallow,  horizon-less  stages,  I  am  not  pre- 
pared to  forecast.  I  leave  that  to  Jones,  Geddes, 
Simonson  and  the  others  who  have  led  us  such 
a  long  way  out  of  the  original  wilderness. 

Other  Examples 

I  might  add  other  examples  in  various  di- 
rections, going  back  to  Reinhardt  who,  in  his 
"circus"  productions,  often  brings  his  actors 
clear  of  the  stage  proper,  playing  them  almost 
detached  in  a  localized  circle  of  light;  or  look- 
ing forward  to  productions  of  those  dozens  of 
expressionistic  artists  who  would  project  their 
dramas  merely  in  space  made  expressive  by 
colored  light.  But  the  few  examples  described 
indicate  the  general  tendency  as  well  as  many, 
and  the  editor  begins  to  grow  impatient.  If 
I  were  to  go  further,  it  would  be  to  bring  for- 
ward similar  opinions,  about  the  passing  of 
stage  decoration,  from  some  of  the  world's 
leading  stage  designers,  European  and  Ameri- 
can. For  the  most  progressive  among  the  men 
whom  we  ordinarily  call  "decorators" — odious 
term  in  its  implication  of  plastered-on  orna- 
ment— are  the  quickest  to  see  that  there  is 
something  better  than  decoration  as  stage 
background.  Robert  Edmond  Jones,  for  in- 
stance, not  only  has  expressed  the  idea  in  words 
but  in  his  famous  production  of  "Macbeth"  at 
the  Plymouth  Theater  in  New  York,  set  many 
of  the  scenes  merely  by  hanging  the  stage  walls 
with  dark  curtains,  putting  the  actors  in  local- 
ized light  with  abstract  "forms"  that  took  the 
place  of  the  usual  setting  and  properties. 
Norman-Bell  Geddes  and  Herman  Rosse  are 
others  who  have  designed  for  stages  approach- 
ing the  void.  There  is  considerable  opinion  to 
the  effect  that  elimination,  rather  than  simpli- 
fication or  suggestion,  will  be  the  key  word  to 
staging  in  our  theaters  of  the  next  phase. 


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A  realistic  play  staged  with  screens  instead  of  walls.    From  Wadekind's  "Marquis  von  Keith," 
as  produced  at  the  State  Theater,  Berlin 


The  Flapper 
The  Society  Belle 
The  Middle-Aged 

Lady 
The  Movie  Star 
The  Old  Lady 


The  Debutante 
The  School  Girl 
The  Rich  Girl 
The  Actress 
The  Shop  Girl 
The  Heiress 


The  Poor  Girl 

All  these  read  Beauty.  Why? 
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it  that  just  fits  her  needs.  Every  girl 
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Beauty  tells  them  how. 

With  the  August  number,  sixteen 
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ing that  each  number  hereafter  will 
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Hints    and   Practical    Helps. 

You  cant  afford  to  miss  a  single 
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Buy   BEAUTY  Because 
BEAUTY  Beautifies 


Page  Seventy-Five 


SuiADQWLAND 


THE     PRISONER 


Copyright  1921  Ford's  Foto  Studios 

And  there  will  I  keep  you  forever. 

Yes,  forever  aid  a  day, 
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(Continued  from  page  11) 


any  native  inferiority  in  art  appreciation  here 
— for  Americans  have  given  prsof  that  their 
instinct  for  art  is  a  strong  one.  What  makes 
the  condition  is  again  the  slenderness  of  our 
resources    for  knowing   art. 

As  the  museums  grow  up  in  the  newer  cities 
of  this  country,  there  will  be  a  wider  and  more 
intelligent  public  for  the  artist.  Meanwhile  we 
have  got_  to  face  the  fact  that  in  too  many 
cases  he  is  called  on  for  work  that  is  the  very 
contrary  of  everything  he  believes  in,  until  the 
day  arrives  when — having  earned  his  living  by 
bad  work — he  actually  comes  to  look  on  it  as 
good.  This  perversion  of  judgment  is  the 
greatest  misfortune  that  can  occur.  So  long  as 
an  artist  realizes  that  a  type  of  work  is  bad 
there  is  hope  of  his  getting  a  chance  to  do  the 
thing  that  made  him  enter  his  profession.  When 
once  his  sense  of  values  is  lost,  the  man  ceases 
to  realize  that  he  has  sold  his  birthright,  and 
becomes  part  of  the  system  that  makes  for  the 
venal  travesty  of  art  which  fills  our  exhibi- 
tions and  publications. 

The  history  of  art  in  America  is  to  a  large 
extent  a  story  of  our  attempts  to  make  the  pub- 
lic know  what  the  picture-maker  and  the 
statue-maker  are  driving  at.  It  is  for  this  pur- 
pose that  we  have  made  the  great  effort  which 
has  given  us  the  museums.  It  is  for  this  pur- 
pose that  we  start  new  exhibitions  when  the  old 
ones  have  got  into  a  rut  of  hopeless  conven- 
tionalism. In  no  country  are  the  older  men 
more  eager  to  find  that  sturdiness  of  talent  in 
their  juniors  which  will  endure  thru  the  years 
of  struggle,  in  no  country  is  there  a  stronger 
sense  among  the  younger  men  of  the  import- 
ance of  the  few  among  their  seniors  who  have 
managed  to  hold  to  their  ideals.  It  is  almost  a 
weakness  with  us :  in  France  one  finds  a  greater 
confidence  among  the  young  artists,  for  the 
tradition  of  growth — of  new  discovery — is  so 
strong  that  one  finds  a  sort  of  healthy  irrever- 
ence that  is  rare  here,  where  the  paucity  of 
achievement  makes  the  younger  men  timid 
about  striking  out  on  the  new  paths — along 
which  lies  their  salvation. 

I  have  spoken  at  some  length  of  these  factors 
in  American  art  because  they  explain  the 
special  importance  there  is  for  us  in  the  man 
who  is  willing  and  able  to  go  ahead.  It  is  the 
recognition  of  this  quality  in  William  J. 
Glackens  that  made  the  best  of  the  older 
painters  his  admirers  twenty  years  ago,  when 
his  admirable  picture  of  the  "Ballet  Girl"  was 
hidden  away  in  the  darkest  corner  of  the  old 
"Morgue"  at  the  Academy;  and  the  quality 
was  again  evidenced  when  Mr.  Glackens  ac- 
cepted the  work  of  directing  the  first  hard  year 
of  the  society  which  gives  the  unknown  artist 
the  same  chance  to  be  heard  as  the  most  dis- 
tinguished in  the  profession. 


Whatever  benefit  the  profession  and  the 
country  have  had  from  the  attitude  of  mind 
that  Mr.  Glackens  has  shown,  the  most  inter- 
esting point  for  us  here  is,  after  all,  its  effect 
on  his  own  work.  To  realize  what  this  has 
been,  we  should  look  back  to  the  magazines  of 
fifteen  years  ago  and  more  and  see  how  the 
swift,  expressive  draftsmanship  that  marks  a 
Glackens  painting  today  is  the  direct  continua- 
tion of  the  quality  that  informed  those  remark- 
able drawings  that  date  from  the  artist's  days 
as  an  illustrator.  He,  with  a  few  others, 
brought  about  an  immeasurably  wider  apprecia- 
tion of  the  fact  that  life  and  character  are  the 
essentials  of  illustration,  and  that  the  drafts- 
man creates  a  dignified  art  of  his  own  when 
he  follows  these  instead  of  imitating  the  effects 
of  inferior  oil-painting — the  usual  medium  em- 
ployed by  the  purveyors  of  prettiness  who  have 
done  their  utmost  to  degrade  one  of  the  oldest 
and  most  important  branches  of  graphic  art. 
And  the  value  of  Mr.  Glackens'  drawings  does 
not  derive  merely  from  the  effect  they  had  in 
bringing  about  a  better  standard  among  the 
editors  and  in  the  public,  they  are  works  of 
permanent  value  in  their  qualities  of  expres- 
sive comment  on  American  life,  and  in  the  re- 
freshing incisiveness  of  their  line  and  move- 
ment. 

In  his  painting,  which  embodies  more  per- 
fectly perhaps  than  any  other  in  this  country 
the  great  discoveries  that  the  Impressionists 
made  in  the  realm  of  color,  the  artist  is  still 
keeping  close  to  the  interest  in  the  subject  be- 
fore him  which  underlies  the  distinguished 
character  of  his  drawings.  Whether  he  paints 
figures  or  landscape  or  flowers,  the  full  gamut 
of  color  that  has  year  by  year  emerged  with 
more  intensity  from  the  dark  painting  of  his 
earlier  period,  is  never  considered  as  a  thing 
apart  from  the  scene  before  his  eyes,  it  is  the 
result  of  an  ever-closer  observation  of  his  sub- 
ject— of  an  ever-stronger  power  to  make  his 
color  reveal  the  splendor  of  the  world  that 
lives    in   the    daylight. 

For  a  time  he  was  interested  in  an  imagina- 
tive rendering  of  themes  taken  from  his  read- 
ing, but  he  soon  returned  to  the  things  of  sight. 
It  is  with  these  that  his  art  is  concerned — and 
they  have  led  men  as  high  as  art  has  gone. 
For,  if  Robert  Louis  Stevenson  in  his  poem 
spoke  of  the  "things  not  seen  with  the  eyes"  as 
the  ones  that  he  would  fight  for,  he  was  speak- 
ing as  a  moralist  and  a  poet.  And  William 
Glackens  is  a  painter;  it  is  thru  our  sight  that 
the  painters  take  us  to  the  heights  of  idea  that 
the  users  of  language  convey  us  to  by  words. 
He  has  reached  his  admirable  place  in  his  gen- 
eration— a  generation  especially  concerned  with 
fidelity  to  vision — because  his  seeing  of  things 
has  enriched  the  vision  of  all  who  look  on  his 
pictures. 


lIMIIIIIIMIIMIIIMIIIIMIMIIIIUIIIIIIIIIIIMIIIIIIMIIIIIIIIIIIIIIIMIIIIMi 

The  Theatrical  Menu 

(Continued  from  page  66) 


"He  Who  Gets  Slapped"  and  "Lilliom."  Clare 
Kiimmer  and  Roland  Young,  a  matchless  com- 
bination, join  forces  again  in  Miss  Rubber's 
new  play,  "Pomeroy's  Past" ;  and  Madge 
Rennedy  has  stepped  off  the  screen  to  appear  in 
Frank   Craven's   latest  jollity,    "Spite   Corner." 

Margaret  Anglin  has  caused  a  good  deal  of 
breathless  suspense  ,by  leasing  the  Comedy 
Theater  for  the  season  without  having  said 
what  for;  Ethel  Barrymore  will  do  "Hedda 
Gabler"  as  the  forerunner  of  a  season  of  Ibsen. 
An  interesting  trio  in  an  equally  interesting 
play  will  be  the  Millers,  Henry  and  his  son 
Gilbert  in  the  former's  production  of  "La  Ten- 
dresse,"  with  the  latter  playing  opposite  Ruth 
Chatterton  in  the  leading  role.  Mr.  Somerset 
Maugham's  "East  of  Suez,"  scheduled  for  the 
near  future,  has  a  Eurasian  heroine^  and  a 
European  hero,  which,  on  the  face  of  it,  looks 
exciting. 

By  the  time  Galsworthy's  "Loyalites"  ap- 
pears at  the  Rnickerbocker  under  the  sponsor- 
ship of  Mr.  Dillingham  in  October,  we  shall  be 
needing  some  new  first-night  clothes,  for  there 
are   some   twenty   or   thirty   plays  of   more  or 


less  importance  in  various  stages  of  incubation 
still  to  be  heard  from. 

There  are  rumors  about  Mrs.  Fiske  in  a  new 
play  and,  of  course,  the  Guitry's  are  being 
brought  over  from  Paris.  George  M.  Cohan, 
now  occupied  with  "Little  Nellie  Relly,"  is 
going  to  take  a  brother  playwright  under  his 
wing,  Arthur  Goodrich,  by  name,  whose  play 
"How  Very  American"  he  has  found  it  im- 
possible to  resist.  Pauline  Frederick  is  coming 
back  from  Hollywood  and  Europe  to  Mr. 
Woods  and  the  legitimate  stage,  and  will  be 
seen  in  "The  Guilty  One,"  first  in  Chicago  and 
later  in  New  York.  James  Forbes,  of  "Mrs. 
Fair"  fame,  will  be  represented  by  "The  End- 
less Chain,"  and  Mr.  Tyler  will  present  "West 
of  Pittsburgh"  by  the  "Dulcy"  authors.  A 
new  Booth  Tarkington  play  will  be  William 
Harris'  contribution,  and,  of  course,  there  is  a 
new  "Greenwich  Village  Follies."  A  varied 
menu  offered  by  a  well-meaning  but  slightly 
befuddled  corps  of  cooks,  who  just  at  present 
are  so  overburdened  with  fall  supplies  that 
they  must  serve  them  all  up,  and  leave  their 
patrons  to  take  their  choice. 


Page  Seventy-Six 


SuiADOWLAND 


Hand  in  Hand  Go 

Culture  and 

Tradition 

(Continued  from  page  62) 

I  know  of  nothing  quite  like  it  in  America  save 
the  new-old  structure  just  being  completed  in 
the  MacDowell  Colony  three  miles  to  the  west 
.  .  .  But  I  anticipate  .  .  . 

It  was  just  fortune — and  odd  fortune  at  that 
— that  brought  to  Peterborough  her  recent  pre- 
science as  a  capital  of  modern  American  cul- 
ture. A  really  great  musician — the  late  Edward 
MacDowell — dining  at  a  house  in  Boston,  ex- 
pressed a  desire  to  find  a  home  in  the  country 
where  he  could  find  peace  and  comfort — and  at 
little  cost.     A  fellow  guest  made  a  suggestion : 

"I  think  that  if  you  went  up  to  Peterbor- 
ough," she  said,  "you  will  find  all  that  you  wish 
of  peace  and  comfort,  at  little  cost — and  great 
beauty,  too." 

So  came  it  then  that  MacDowell  went  to 
Peterborough.  Went  for  but  a  single  summer 
and  then  decided  to  make  it  a  permanent  sum- 
mer home.  He  bought  an  abandoned  farm  and 
in  its  staunch  old  farmhouse  he  set  his  habitat. 
It  is  today  the  property  of  his  widow.  Gradu- 
ally it  has  been  added  to,  a  staircase  here,  an 
"ell"  there,  rooms  everywhere,  even  the  great 
music-room — one  of  the  loveliest  single  apart- 
ments into  which  I  have  ever  ventured — which 
breathes  the  spirit  of  a  master  mind  .  .  .  Yet 
simplicity  rules !  not  only  the  house  but  in  the 
entire  five-hundred-acre  colony,  of  which  it  is 
the  heart  and  constant  inspiration. 

A  Refuge  for  Creators 

For  MacDowell  before  his  death  had  willed 
that  his  refuge  in  Peterborough  should  become 
the  refuge  of  other  creative  minds,  working 
for  the  growth  and  development  of  the  arts  in 
all  the  intensity  and  pressure  under  which  the 
creative  mind  always  works.  A  little  way  from 
his  house  he  had  built — some  years  before 
his  death — a  small  cabin,  perched  upon  a  hill- 
side and  facing  Monadnock  and  the  setting  sun. 
This  was  his  refuge.  In  its  single  room  a  piano 
was  placed,  and  there  creative  art  had  sanc- 
tuary .  .  .  There  are  more  than  thirty  such 
refuges  in  the  MacDowell  colony  of  today. 
They  are  at  the  service  of  creative  minds ;  in 
music,  in  literature,  in  art.  Each  is  allotted  for 
the  summer  season  to  the  use  of  an  artist,  who 
comes  to  Peterborough  with  the  proper  cre- 
dentials. The  cost  is  low,  ridiculously  low. 
But  the  standard  is  high,  astonishingly  high. 

The  folk  who  have  met  the  standard  and 
who  go  to  the  MacDowell  Colony  are  subjected 
to  few  rules  or  restrictions.  Only  two  of  these 
may  fairly  be  called  cardinal ;  it  is  strictly  for- 
bidden for  anyone  to  call  upon  a  worker  in  his 
studio  during  the  hours  that  it  is  set  aside  to 
him — from  nine  to  four — and  night-work  in 
them  is  forbidden ;  this  last  as  a  preventative 
of  fire.  So  rigidly  is  the  first  rule  adhered  to, 
that  from  the  central  house  of  the  colony,  the 
lunches  are  sent  out  at  noon  each  day  by  special 
truck  and  in  containers.  The  trend  of  thought 
of  the  worker  is  not  broken  in  upon  by  the 
hum  of  small-talk  at  a  lunch  table.  He  lives 
in  a  colony  house — a  great  house  for  the  men 
and  another  for  the  women — and  eats  his  break- 
fast and  his  dinner  in  community.  But  the 
precious  hours  of  day  are  reserved  for  his  own 
meditations — and  his  creative  endeavors. 

To  hold  these  ideals  and  gradually  expand, 
what  seems  to  be  one  of  the  most  useful  efforts 
in  America,  has  been  no  easy  task  for  the  pro- 
moters of  the  colony.  It  always  is  desperately 
hard  up.  The  new  men's  lodge,  which  was 
begun  away  back  in  1914,  and  arrested  _  for  a 
time  during  the  progress  of  the  war,  is  just 
now  receiving  its  shingled  roof.  Work  at 
Peterborough  is  a  slow  and  serious  matter. 
The  lodge,  like  the  Episcopalian  chapel  down 
in  the  village,  is  a  hand-fabricated  thing.  Two 
aged  stone-masons — survivors  of  a  craft  that 
has  almost  ceased  to  exist  within  the  United 
States — have  slowly  erected  its  stout  walls.  Yet 
when  you  stop  to  bespeak  to  them  your  real 
admiration  of  their  handiwork,  they  will  lead 
you  silently  thru  a  path  in  a  nearby  wood  to  a 


Why  Dont  You  Buy 

Q^vssic 

The  Picture  Book  De  Luxe  of  the  Movie  World 

Our  November  number  is  the  very  last  word  in  magazine  entertainment.     We 
offer  in  defense  of  this  statement : 


I- 


II- 


III- 


-An  extraordinary  interview  with  Nazimova — an  autobiography  in  minia- 
ture. The  famous  star  tells  of  her  girlhood  in  Russia,  her  early  dramatic 
struggles,  her  dreams  and  plans  for  the  future. 

-A  magnificently  illustrated  article — "Famous  Camilles."  This  is  the 
second  in  our  popular  series.  "Famous  Toscas"  will  follow.  The 
first,  "Famous  Salomes,"  appeared  in  the  October  number. 

-A  dozen  pictorial  treats.  For  instance :  A  double  spread  of  Marion 
Davies  in  her  new  costume  picture  "When  Knighthood  Was  In 
Flower";  Betty  Blythe  and  her  enchanting  new  gowns;  a  page  of  stills 
from  Maurice  Tourneur's  super-picture  "Lorna  Doone,"  and  one 
from  Richard  Watson  Tully's  romantic  "Omar,  the  Tentmaker." 


The  Picture  Book  De  Luxe  of  the  movie  world 


(Tl^ssic 


For  NO  VEMBER 


Shadowland 


SPEAKS   TO  THE 

ART   LOVER 

FOREWORD: 

The  future  of  painting  resides  in  America.  We  have  the  talent,  the  serious 
purpose ;  we  have  a  group  of  young  men  whose  work  is  daily  finding  a  larger  and 
more  enthusiastic  audience. 

The  aim  of  our  new  art — Futurism,  Impressionism,  and  the  like — is  the 
overthrow  of  photographic  realism,  and  the  restoration  of  design  to  painting. 

RESUME: 

Since  June,  1921,  Shadowland  has  been  publishing  a  series  of  critical  articles, 
written  by  recognized  authorities,  on  the  work  of  our  new  American  artists,  and 
reproducing  in  full  color  two  or  three  distinctive  compositions  of  each  man. 

Among  the  artists  whose  work  has  been  reviewed  and  reproduced  are  Allen 
Tucker,  Ernest  Lawson,  George  Bellows,  Bryson  Burroughs,  William  Yarrow, 
Maurice  Prendergast,  Homer  Boss,  Thomas  Benton,  John  Marin,  Preston  Dickin- 
son, John  Sloan. 

DECLARATION: 

Shadowland  plans  to  continue  this  series  that  has  attracted  so  much  co- 
operation and  favorable  comment. 

In  the  November  number  there  will  be  a  critique  and  reproductions  of  the 
work  of  Hayley  Lever,  than  whom  no  living  painter  of  landscapes  has  a  deeper 
feeling  for  movement.  "The  waters  on  his  canvases  vibrate  in  the  light;  his  trees 
feel  the  impact  of  the  winds." 

In  December,  Shadowland  will  reproduce  and  review  the  work  of  Charles 
Demuth  who,  you  will  remember,  two  years  ago  in  Paris,  executed  a  series  of  circus 
scenes    and    vaudeville    phantasies    whose    impeccable    artistry    drew    world-wide 


Comment. 


Shadowland 

for 
NOVEMBER 


I 'age  Seventy-Seven 


SUADOWLAND 


Start  a 
Beauty  Parlor 

In  Your  Own  Home  and 


Make  Money 

Wherever  you  may  live, 
whether  in  a  small  town  or  a 
big  city,  there  are  in  your 
neighborhood  many  who  are 
troubled  with  superfluous  hair, 
moles,  warts,  birthmarks,  etc., 
and  you  know  that  electrolysis 
is  the  only  method  of  perma- 
nently removing  them.  You 
can  get  a  large  part  of  this 
trade  by  securing  an  Electroly- 
sis Outfit  and  learning  how  to 
operate  with  the  simple  direc- 
tions accompanying  it.  Any- 
body can  learn  to  do  it.  It 
requires  no  knowledge  of  elec- 
tricity or  of  physiology.  You 
can  operate  in  your  own  home, 
because  all  you  require  is  good 
light,  two  chairs  and  a  table. 
Or  you  can  operate  in  the 
homes  of  your  customers,  be- 
cause the  outfit  can  be  carried 
in  a  small  hand  valise.  The 
usual  charge  for  removing  su- 
perfluous hair  is  $5.00  for  half 
an  hour's  treatment,  and  there 
are  very  few  places  in  this 
country  where  you  can  get  it 
done  at  any  price.  I  will  send 
an  Electrolysis  Outfit,  prepaid, 
to  any  address  on  receipt  of 
price,   $20.00. 

If  you  wish  to  take  up  other 
branches  of  Beauty  Parlor 
work,  I  will  undertake  to  teach 
by  correspondence  the  follow- 
ing courses  on  receipt  of  price: 

Facial  Massage    $2.00 

Shampooing     2.00 

Eyebrows  and  Lashes.    1.00 

Reducing 2.00 

Wrinkles   1.00 

Facial  Mud  Bath 1.00 

Manicuring 3.00 

Pimples,    Blackheads, 

etc 1.00 

Double  Chin   1.00 

Body  Massage   1.00 

All  Ten  Courses  for  $10.00 

Each  course  includes  complete  direc- 
tions in  simplified  form.  Nearly  all  of 
the  ingredients  required  can  be  pur- 
chased at  any  drug  store,  such  as 
tweezers,  bowls,  saucers,  witch-hazel, 
glycerine,  cold  cream,  etc.,  except  the 
mud  bath,  which  is  my  own  secret 
preparation ;  but  I  will  make  a  special 
price  on  this  and  on  all  my  prepara- 
tions, if  my  pupils  prefer  them  to  others. 

This  is  an  Age  of  Beauty 

In  a  few  years  you  will  see  Beauty 
Shops  everywhere.  Learn  the  business 
now !  Start  in  a  small  way,  and  some 
day  you  may  own  a  handsome  Beauty 
Parlor  on  the  main  street,  with  dozens 
of  girls  doing  the  work  for  you.  There's 
Big  Money   in   it! 

CORLISS  PALMER 

Brewster  Buildings,  Brooklyn,  N.Y. 


W1 

isnl 


=^ 


small  stone  structure  that  stands  where  it  can 
catch  the  first  glance  of  dawn,  the  last  linger- 
ing  farewell  of  dusk. 

"This  is  our  real  recreation,"  they  will  finally 
tell  you.  "This  will  stand  long  centuries  after 
we  are  gone." 

The  Chapel 

A  few  years  before  his  death,  MacDowell, 
tramping  thru  the  Swiss  Alps  with  his  wife, 
came  quite  unexpectedly  at  a  turn  of  the  road 
to  a  small  chapel ;  a  thing  of  great  beauty  but 
of  an  exquisite  simplicity.  It  consisted  of  but 
a  single  room,  with  an  arched  loggia  without, 
giving  to  it  .  .  .  The  musician  was  rapt  in  his 
admiration  of  it. 

"It  is  the  one  thing  that  I  have  seen  over 
here,"  said  he,  "that  could  be  transplanted  to 
America." 

After  his  death,  Mrs.  MacDowell  began  to 
contemplate  the  building  of  the  little  chapel  in 
duplicate  upon  the  grounds  of  the  colony  at 
Peterborough.  She  had  an  architect  go  from 
Paris  up  into  Switzerland  and  make  drawings 
and  plans  of  it,  but  finally  was  compelled  to 
dismiss  the  idea.  The  cost  was  prohibitive. 
Yet  Mrs.  MacDowell  never  completely  aban- 
doned her  pet  project. 

A  few  years  ago  the  way  opened  for  it. 
Thru  the  generosity  of  Mrs.  John  W.  Alex- 
ander it  was  decided  to  reproduce  the  Swiss 
chapel — as  a  memorial  studio  among  the  pines 
of  New  Hampshire.  It  will  serve  both  as  a 
painter's  workshop  and  as  a  small  exhibition 
gallery.  To  the  two  aged  stone-masons  of 
Peterborough  was  intrusted  the  difficult  task 
of  construction.  They  took  it  slowly.  For 
more  than  four  years  they  have  been  building 
the  chapel.  Each  stone  that  has  gone  into  its 
walls  has  been  minutely  inspected.  Many  stones 
— brought  from  the  nearby  hillsides — have  been 
rejected  for  the  few  that  have  been  accepted. 

Finally  the  chapel — I  cannot  help  calling  it 
that,  it  is  so  impressively  religious  in  its 
great  simplicity,  set  there  amidst  the  mighty 
silences  of  the  forest — is  almost  completed. 
The  final  touches  already  are  being  given  to  it. 
In  another  summer  it  will  be  ready ;  ready  to 
begin  its  progress  down  the  centuries ;  a  symbol 
of  faith,  of  love  and  of  attainment. 

The  success  of  the  MacDowell  Colony  thru 
a  quarter  of  a  century  of  struggle  and  of  steady 
progress  has  brought  other  efforts  in  its  wake. 
Some  eight  or  nine  years  ago,  Miss  Marie  Weir 
Laughton  established  on  the  other  side  of  the 
village  her  artistic  colony  which  she  calls  The 
Pasture  and  which  has  successfully  specialized 
in  the  teaching  and  development  of  aesthetic 
dancing. 

At  Mariarden 

The  most  recent  addition  to  the  culture  of 
Peterborough,  however,  is  the  elaborate  Mariar- 
den, which  Mrs.  Guy  Currier,  ef  Boston,  and 
a  group  of  associates,  have  established  within 
the  twelvemonth.  Mariarden  gives  itself  un- 
reservedly to  the  drama  and  the  kindred  arts 
that  go  toward  its  perfection.  So  it  is  but 
natural  that  the  chief  feature  of  this  new  colony 
is  its  great  stage,  designed  by  Stuart  Walker, 
of  Portmanteau  Theater  fame.  This  is  the 
most  complete  structure  of  its  sort  ever  at- 
tempted   for    open-air    productions.      Not    only 


is  there  an  elaborate  electric  equipment,  includ- 
ing several  groups  of  spotlights  set  in  floor- 
traps,  but  under  another  trap  a  broad  stair 
leading  from  below,  right  up  into  the  center 
of  the  stage.  The  opportunities  that  this  most 
unusual  feature  give  for  stage  direction  and 
grouping  are  almost  infinite.  Yet  they  are 
equalled  by  the  stage  itself;  with  its  broad 
apron  and  fore-stage  giving  ample  room  for 
the  enacting  of  drama  scenes,  while  the  screens 
that  serve  as  a  drop-curtain  are  closed.  For 
the  entire  stage  there  are  no  screens.  Nature, 
herself,  painted  the  back-drop — real  trees,  a 
real  sky,  and  in  the  distance  the  madly  beautiful 
reality  of  the  park  of  Monadnock  itself. 

This  stage  was  first  inaugurated  at  the  end 
of  July  last;  by  a  superb  production  of  "As 
You  Like  It,"  in  which  were  featured  Edith 
Wynne  Mathison,  Pedro  de  Cordoba,  Adrienne 
Morrison  (Mrs.  Richard  Bennett)  and  other 
almost  equally  well-known  professional  actors, 
with  the  students  of  the  school  in  lesser  roles. 
Its  dancing  is  in  the  hands  of  Ruth  St.  Denis 
and  Ted  Shawn,  who  are  creating  at  Peter- 
borough. An  eastern  Denishawn,  after  their 
California  model  .  .  .  The  entire  institution  is 
under  the  immediate  direction  of  Mrs.  Currier, 
herself  for  years  an  actress  of  high  repute  .  .  . 
The  social  side  of  the  place  is  quite  as  much 
her  concern  as  its  ambitious  artistic  side.  The 
folk  who  go  to  it  are  assured  of  comfort.  The 
big  barn,  cleared  and  rebuilt  and  gaily  deco- 
rated with  blue-and-white  cross-barred  ging- 
hams, which  serves  as  the  central  studio  of 
Mariarden,  the  nearby  refectory,  the  little 
groups  of  bungalows  here  and  there  and  every- 
where upon  the  three  hundred  acres  of  piney 
hillsides  bespeak  a  careful  attention,  not  only 
to  detail  but  to  the  human  necessities  of  the 
problem. 

The  First  Free  Library 

I  shall  like  to  think  of  Peterborough  always ; 
not  only  as  an  American  town  typifying  the 
good  taste  and  the  real  culture  of  past  genera- 
tions— it  is  a  matter  of  pride  to  the  town  that 
it  possesses  the  first  free  public  library  estab- 
lished within  this  land — but  representing  the  tre- 
mendous effort  that  is  now  being  made  to  in- 
spire such  culture  within  the  present  generation. 
I  shall  like  to  think  of  its  real  modesty — almost 
the  first  requisite  of  genuine  good  taste.  For 
when  one  is  done  with  the  real  splendors  of  the 
place,  and  they  are  manifold,  there  remains  that 
simplicity.  Perhaps  nowhere  does  this  show  it- 
self more  than  when  one  climbs  the  hill,  passes 
thru  an  unmarked  gateway  at  the  roadside  and 
enters  a  half -hidden  path  that  leads  thru  a 
cathedral-like  double-row  of  trees  to  the  grave 
of  MacDowell.  It  stands  alone.  And  without 
pretense.  Nearby  is  the  golf  course  that  he 
gave  to  the  men  of  Peterborough.  You  can 
hear  them  laughing  and  shouting  as  you  stand 
before   MacDowell's  monument. 

That  monument,  a  giant  boulder.  Nothing 
else.  A  great  glacial  rock  with  a  simple  bronze 
plate  bearing  the  name  of  the  man  whose  bones 
it  shelters  and  beneath  it  the  immortal  words 
that  he  wrote  one  evening  as  he  sat  in  his 
studio  cabin  upon  the  hillside : 

"A  house  of  dreams  untold 
It  looks  out  over  the  whispering  tree-tops 
And   faces  the  setting  sun." 


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Page  Seventy-Eight 


Corliss  Palmer  Powder 


CORLISS  PALMER 


is  the  result  of  scientific 
research  and  experiment. 
Miss  Palmer,  by  winning 
first  prize  in  the  1920  Fame 
and  Fortune  Contest,  was 
adjudged  the  Most  Beauti- 
ful girl  in  America,  and 
her  Beauty  articles  in  the 
!  Motion  Picture  Maga- 
zine and  Beauty  Maga- 
zine have  attracted  wide 
attention. 

We  have  secured  the  ex- 
clusive American  rights  to 
Miss  Palmer's  Powder. 
We  put  it  up  in  pretty 
boxes,  which  will  be  mail- 
ed to  any  address,  postage 
prepaid,  on  receipt  of 
price,  $1.00  a  box.  It 
comes  in  only  one  shade 
and  is  equally  desirable  for 
blondes  and  brunettes. 


Do  not  think  of  sitting  for  a  portrait  without  first  using  this  powder! 

And  it  is  equally  desirable  for  street  use,  in  the  Movies  and 
everywhere.  Send  a  One  Dollar  bill  or  1-cent  or  2-cent  stamps 
and  we  will  mail  you  a  box  of  this  exquisite  powder.  Remem- 
ber that  we  have  the  exclusive  selling  rights  to 

Corliss  palmer  powder 

Beware  of  imitations  and  accept  no  substitutes  warranted  to  be 
"just  as  good."    There  is  nothing  else  like  it  on  the  market. 

WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 


Extracts  from  Motion 
Picture  Magazine 


I  am  often  asked  what  kind  of  face 
powder  I-  use.  I  have  received  more 
letters  asking  this  question  than  I  could 
answer,  so  I  had  a  little  circular 
printed  stating:  that  I  make  my  own 
powder.  And  now  they  are  asking  me 
to  tell  them  how  1  make  it.  Well,  I 
cant  tell  how,  but  I  can  tell  why.  I 
have  tried  about  every  powder  on  the 
market  and  have  done  considerable  ex- 
perimenting' on  myself  and  on  others. 
There  is  no  denying  that  there  are 
several  very  fine  powders  on  the  mar- 
ket, but  I  felt  that  none  just  suited 
me,  and  so  I  determined  to  make  one 
that  did.  You  see,  in  the  first  place, 
I  had  some  very  peculiar  ideas  about 
the  complexion  and  was  very  hard  to 
please.  I  am  very  particular  about 
tints  and  staying  qualities,  and  I  want 
a  powder  that  does  not  look  like  pow- 
der, that  will  not  blow  off  in  the  first 
gust  of  wind,  that  is  not  too  heavy  nor 
too  light,  that  will  not  injure  the  com- 
plexion, and  that  will  not  change  color 
when  it  becomes  moist  from  perspira- 
tion- or  from  the  natural  oil  that  comes 
thru  the  pores  of  the  skin.  I  also  like 
a  pleasant  aroma  to  my  powder,  and 
one  that  lingers.  After  experimenting 
with  powdered  starch,  French  chalk, 
magnesia  carbonate,  powdered  orris 
root,  bismuth  subcarbonate,  precipitated 
chalk,  zinc  oxide,  and  other  chemicals, 
and  after  consulting  authorities  as  to 
the  effects  of  each  of  these  on  the  skin, 
I  finally  settled  on  a  formula  that  has 
been  tried  out  under  all  conditions  and 
that  suits  me  to  a  nicety.  And,  most 
important  of  all,  perhaps,  this  powder 
when  finally  perfected  had  the  remark- 
able quality  of  being  equally  good  for 
the  street,  for  evening  dress  and  for 
motion  picture  make-up.  I  use  the 
same  powder  before  the  camera  for 
exteriors  and  interiors,  and  for  daily 
use  in  real  life.  So  do  many  of  my 
friends,  and  they  all  tell  me  that  they 
will  use  no  other  so  long  as  they  can 
get  mine.  As  to  the  tint,  it  is  a  mix- 
ture of  many  colors.  I  learned  from 
an  artist  years  ago  that  there  are  no 
solid  fiat  colors  in  nature.  Look  care- 
fully at  anything  you  choose  and  you 
will  see  every  color  of  the  rainbow  in 
it.  Take  a  square  inch  of  sky,  for  in- 
stance, and  examine  it  closely  and  you 
will  find  every  color  there.  Just  so 
with  the  face.  Any  portrait  painter 
will  tell  you  that  he  uses  nearly  every 
color  when  painting  flesh.  Nothing  is 
white — not  even  snow,  because  it  re- 
flects every  color  that  is  around  it. 
White  face  powder  is  absurd.  White 
is  not  a  color.  The  general  tone  of  my 
powder  is  something  like  that  of  a  ripe 
peach.  I  have  made  up  a  few  boxes  of 
it  for  my  friends,  and  I  feel  justified 
in  asking  them  to  pay  me  what  it  costs 
me,  which  is  about  One  Dollar  a  box. 
I  am  not  in  business  and  do  not  want 
to  make  a  profit.  If  any  of  my  readers 
want  to  try  this  powder,  I  will  try 
to  accommodate  them,  but  1  cannot 
undertake  to  put  this  powder  on  the 
market  in  a  business  way — that  is 
something  for  a  regular  dealer  to  do 
if   there    is   enough    demand    for    it. 


Gut  out  and  mail  today 


1    WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 

]             For    the    enclosed    One    Dol 
1     CORLISS  PALMER  POWDER. 

ar    please 

send 

me 

a    box 

of     ; 

Street    

Moments  Which  Count 


/• 


When  you  are  conscious  of  the  scru- 
tiny of  interested  eyes  which  appraise 
every  detail  of  your  appearance,  can  you 
sit  serene, secure  in  the  consciousness 
that  there  is  nothing  to  criticise  but  every- 
thing to  admire  ? 

Happy  is  the  girl  who  can  answer 

yes"  in  these  all  important  moments. 

She  is  the  girl  whoknows  that  her  fresh, 

clear  skin  and  smooth,  white  neck  and 

arms  are  sure  to  command  admiration. 

The  girl  who  is  not  so  sure  of  her 
personal  attractiveness,  who  is  conscious 
that  complexion  defects  may  affect  her 
popularity,  should  waste  no  time  rem- 
edying these  conditions.  The  secret  is 
cosmetic  cleanliness,  which  keeps  the 
skin  free  from  clogging  accumulations. 

Once  a  day,  do  this 

Once  a  day,  preferably  at  bed-time, 
give  your  face  a  thorough 
cleansing.    This  doesn't 
mean  a  harsh,  irritating 
scrub,  but  a  cos- 
metic cleansing 
accomplished 
by  the  gentlest 
possible  means. 


Soap  is  necessary,  butonlythe  mildest 
soap  should  be  used;:  This  is  Palmolive, 
blended  from  palm  and  olive  oils. 

Onceyou  experience  the  mild,  sooth- 
ing effect  of  its  smooth,  creamy  lather 
you  will  recognize  daily  cleansing  as  the 
surest  complexion  beautifier. 

Removal,  once  a  day,  of  the  accumu- 
lations of  dirt,  oil,  perspiration  and  the 
remaining  traces  of  cold  cream  and 
powder  is  absolutely  essential  to  a  clear, 
fresh  skin. 

Neglect  results  in  clogged  pores, 
coarse  texture  and  blackheads.  When 
the  accumulated  soil  carries  infection, 
pimples  are  the  result. 

An  ancient  secret 

The  value  of  beautifying  cleansing 
was  discovered  long  ago,  in  the  days  of 
ancient  Egypt.  It  was  Cleopatra's  secret 
—  whatever  the  embellishments  she 
employed,  they  were  applied  after  the 
daily  bath  with  palm  and  olive  oils  as 
cleansers. 

The  great  queen  was  famous  for  her 
beauty  long  after  early  youth  was  passed . 
She  kept  her  looks  with  the  aid  of  the 


same  gentle,  stimulating  cleansing  which 
we  recommend  today. 

Blended  from  the  same  oils 

Palmolive  is  blended  from  the  same 
costly  oriental  oils  which  served  Cleo- 
patra as  cleanser  and  beautifier.  We 
import  them  from  overseas  in  vast  quan- 
tity to  keep  the  Palmolive  factories  at 
work  day  and  night.  This  is  necessary 
to  supply  the  world-wide  demand. 

This  popularity  has  reduced  price, 
as  manufacturing  volume  permits  econ- 
omies which  lower  production  costs. 
Thus  we  are  able  to  supply  Palmolive 
for  only  10  cents  a  cake. 

Sowhile  Palmolive  ranks  first  as  finest 
facial  soap,  you  can  afford  to  follow  Cleo- 
patra's example  and  use  it  for  bathing. 

Complexion  beauty  does  not  end 
with  the  face.  Beautify  your  body  with 
Palmolive. 

Volume  and  efficiency  produce 
25-cent  quality  for 


10c 


THE  PALMOLIVE  COMPANY,  MILWAUKEE,   U.  S.  A. 

THE  PALMOLIVE  COMPANY  OF  CANADA.  Limited.  TORONTO,  CANADA 
Also  makers  of  Palmolive  Shampoo  and  Palmolive  Shaving  Cream 

Copyright  1922— The  Palmolive  Co.     1661 


Brett  Litho.  Co.,    N.   Y. 


NOVEMBER 


35£ 


*UADOWLANG> 


EXPRESSING  THE  ARTS 


m. 


WHAT  15  YOUR 

REPUTATION 

WORTH? 


MARY  LEONARD  had  to  put  a  price 
hers  if  she  would  save  her  sister. 

She  had  to  value  it  in  different  terms  if 
would  hold  the  love  of  the  One  Man. 

She  had  to  re-value  it  if  she  would  keep 
self-respect. 

WHAT  DID  SHE  DO? 

We  give  you  the  first  episode  in  the  sensational 
screen  career  of  Mary  Leonard,  her  sister  Lissa, 
and  the  man  Dermott  Trent,  in  the  December 
number  of  the  Motion  Picture  Magazine, 
when  begins  Dorothy  Calhoun's  astounding  and 
absorbing  serial: 


A  Story  of 

Tempestuous   Youth 

Riotous  Living 

High  Romance 

Adventure 

Passion 

Sacrifice 

vvila   Love 

Revenge 


"THEY  WHO  FEAST  IN  BABYLON" 

It  deals  with  the  gay,  reckless,  lovable  motion-picture  set  Its   hero   is   a   screen   idol — handsome,    imperious,   clever, 

of  romantic  Hollywood.  Its  author  bows  the  mot;Qn  picture  cobny  ag  no  Qther 

Its  heroines  are  twin  sisters — one  gentle   and  charming,      writer  does,  and  tells  her  story  with  frankness  and  dramatic 
the  other  arrogant  but  captivating.  intensity. 

IT  IS  A  SUPER-SERIAL 
It  Is  A   Story    You   Cannot  Forget 

Beginning   in   the 

DECEMBER 

MOTION  PICTURE 

MAGAZINE 


^heValue  of^ime 


The  Caliph's  gift  was  inscribed,  "From  tke 
Emperor  of  the  Hast  to  the  Emperor  of  the  West,'" 
On  the  dial  -were  twelve  doors.  The  hour  was 
struck  by  the  opening  doors,  which  released  metal 
balls  to  fall  on  a  brazen  gong.  At  noon  twelve 
horsonen  rode  forth  and  shut  alt  the  doors. 


T 


By  I^cotio? 

Painting  by  HAROLD  DELAY 

O    CHARLEMAGNE'S    court   from    far-away  Bagdad 
came  an  oriental  water-clock. 


J    f 


King  of  the  Franks  and  Roman  Emperor,  the  mighty 
Charlemagne  was  ever  mindful  of  the  value  of  Time.  For  his 
empire  was  vast,  his  government  personal:  he  must  needs  make 
moments  count.  Education,  brushed  aside  in  his  youthful  fight- 
ing days,  became  his  burning  ambition.  While  he  ate  he 
listened  to  history.  While  he  dressed  he  gave  audience  to 
pleas  for  justice.  Wakeful  nights  found  him  struggling  to 
learn  to  write. 

Time  made  the  unlettered  monarch  one  of  the  greatest 
educators  of  the  Middle  Ages. 

Haroun-al-Raschid,  caliph  of  Bagdad,  read  the  secret  of 
Charlemagne's  power  and  paid  it  subtle  tribute — a  wondrous 
water-clock  inlaid  with  gold. 

Proudest  possession  of  a  proud  empire,  eleven  centuries 
ago — yet  how  crude  a  device  compared  to  those  marvelous 
timekeepers  of  our  own  day  — 


<& 


Page  Three 


^^■^H^H 


SUADOWLTAND 


Five  Fair  Faces 

from  the  thousands  that  hope  to  be  reflected  in  the  American  Beauty  Mirror 

Do  You  Wish  Your  Face  Reflected  There? 


IMPORTANT 

Brewster  Publications  herewith  announces  the  closing 

date   of   the    American    Beauty    Contest — December    15, 

1922.  Any  photographs  received  bearing  a  postmark  of  a 
later  date  will  be  disregarded. 

You  still  have  time  to  become  an  entrant.  Read  the 
simple  rules  and  consider  the  splendid  rewards  that  may 
come  to  you. 

We  are  not  looking  for  a  movie  heroine,  or  a  stage  star, 
or  an  intellectual  wonder,  or  a  personality  crank.  We  are 
looking  for  Beauty — and  we  are  going  to  find  her — the  most 
beautiful  woman  in  America  ! 

This  is  an  unprecedented  offer.  Do  not  fail  to  take  ad- 
vantage of  it.  Send  us  your  photograph.  That  is  all  that 
is  required  of  you.  Think  what  you  may  win — just  because 
you  happened  to  be  born  beautiful.  Scrupulous  care  will 
be  taken  of  every  picture  received.  ALL  of  them  will  be 
examined  by  the  contest  judges. 

THE  REWARDS 

To  the  woman  who  our  illustrious  judges  shall  decide  is 
the  most  beautiful  in  America,  will  be  given: 

1.  A  trip  to  New  York,  properly  chaperoned,  and  a  chance  to  take 
in  the  pleasures  which  only  that  great  city  affords :  the  opera, 
the  theaters,  our  wonderful  library,  the  famous  "East  Side,"  great 
museums,  the  celebrated  Greenwich  Village,  all  the  luxurious  and 
beautiful  shops  on  the  most  luxurious  and  beautiful  street  in  the 
world — Fifth  Avenue — and  so  on. 

2.  A  well-known  American  artist  will  paint  her  portrait. 

3.  A  representative  American  sculptor  will  model  her  head. 

4.  These  works  of  art  will  be  exhibited  in  one  of  the  leading  art 
galleries   in   New  York   Gity  and  elsewhere. 

5.  She  will  have  her  picture  on  the  cover  of   Beauty   magazine. 
There  will  be  a  second  prize  and  a  third  prize,  and  possibly 

more.     These  will  be  announced  later. 

In  view  of  the  fact  that  the  American  Beauty  may  be 
found  in  New  York  City, 
or  its  immediate  vicinity, 
the  prize  in  her  case  will  be 
$1,000,  instead  of  the  visit 
to  New  York.  Just  think 
of  that — - 


One 

Thousand 

Dollars 

($1,000) 


■---THE  ENTRANCE 


This  is  a  portrait  of : 


Name.  . . 
Address. 


Age Weight 

Color  of  Eyes Hair 

It    is    submitted    to    the    American    Beau 
thereof,  by : 

Name 

Address 


REMEMBER 

The  judges  of  our  Beauty  Contest  are  well-known  artists, 
writers  and  editors. 

All  photographs  of  entrants  will  be  turned  over  to  the 
Metropolitan  Magazine,  from  which  they  will  select  photo- 
graphs to  be  used  on  the  Metropolitan  Cover  Contest. 

THE  RULES 

1.  No  photographs  will  be  returned. 

2.  No  exceptions  will  be  made  to  this  rule. 

3.  Winners  will  be  notified. 

4.  Snapshots,  strip  pictures,  or  colored  photographs  will  not  be  con- 
sidered. Outside  of  these,  any  kind  of  picture  will  be  accepted ; 
full  length  or  bust,  full  face  of  profile,  sepia  or  black.  You  may 
submit  as  many  photographs  as  you  wish. 

5.  Photographers,  artists,  friends  and  admirers  may  enter  pictures 
of  their  favorites.  Credit  will  be  given  photographers  whenever 
possible. 

6.  Do  not  ask  the  contest  manager  to  discuss  your  chances..  He  has 
nothing  to  do  with  that  end  of  it. 

7.  Do  not  write  letters.   The  close  of  the  contest  will  be  announced  in 

B10TI0N.&ICTV&E.     ClAS  S I C 

SuAPOWLAND    and    «gea\itv^ 

at  least  three  months  in  advance.  There  will  be  a  contest  story 
every  month  in  all  four  magazines,  with  all  necessary  news  and 
information. 

8.  The  most  beautiful  pictures  received  each  month  thruout  the  oper- 
ation of  the  contest  will  be  published  in  a  monthly  Honor 
Roll  in  all  four  magazines.  These  girls  will  be  notified  when, 
and  in  which  magazine  their  picture  will  appear.  This  does  not 
mean  that  they  have  necessarily  qualified  for  the  final  award, 
nor  that  those  whose  pictures  are  not  published  have  failed.  The 
winner  will  not  be  decided  upon  until  the  end  of  the  contest. 

9.  Such  a  coupon  as  the  one  below,  properly  filled  out,  must  be 
PASTED  on  the  BACK  of  every  photograph  submitted. 

10.  Be    sure    to    put    sufficient 
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Page  Four 


w 


NOV  -8  1922 


/ 


IC1B5501H2 


{/ 


Expressing  the  Arts 


VOLUME  VII 


The  Magazine  of  Magazines 
NOVEMBER,  1922      / 

mi  in  mi  1 1 1 1  ii  1 1 1 1  m  1 1  it  i  mi  iti  1 1 1  tint  iiiiii  iimimmiij 

Important  Features  in  this  Issue: 
HAYLEY  LEVER,  INDIVIDUALIST Edgar  Holger  Cahill 

The   artist   who   has  the   courage   to   face   the   world   as   himself  and  not   as  the  member   of 

some  group 

OUR  NOVELS  AS  MIRRORS Burton  Rascoe 

Modern   novelists   are   accused   of   making   too    great  literary   use   of  the   imbecilities    of   the 

average  American  citizen 

FRANZ  MOLNAR  AND  HIS  TYPES 

Kober's  sketches  of  the  picturesque  characters  that  appear  in  the  plays  of  this  native  of  Budapest 

PAINTING  SCENERY  WITH  LIGHT Kenneth  Uacgowan 

An  illustrated  article  explaining  the  three  new  uses  to  which  light  is  being  put  in  the  theater 

THE  BUSINESS  OF  MANUFACTURING  LITERATURE 

Harry  Can 

The  new  literary  settlers  in  the  West  divulge  the  secrets  of  their  profession 

MORE  TO  BE  CENSORED  THAN  FAMED   

Clayton   Knight   sketches   several   speaking   likenesses    on   the   censored   Great 

GRAND  OPERA  OVER  HERE  AND  BACK  THERE 

Edward  Hungerford 

An  answer  to  the  question:   "Can  America  ever  come  to  the  operatic  taste  and  appreciation 

of  Europe?" 

OUR  LYRICAL  PSYCHO-REALIST Babette  Deutsch 

An  analysis  of  the  work  of  Conrad  Aiken,  who  uses  modern  psychology  for  his  running-board 

WITH  WYNN  IN  BERLIN 

This    artist's    young    but    appreciative    eye    has    caught,    for    his    facile    brush,    some    typical 

Berliners   at   home 

WHERE  BARGAINING  IS  THE  SOUL  OF  TRADE 

Francis   F.  Fulton 

A  pleasing   tour   of   the   little   cobwebby   second-hand   shops    of   Paris,   with    a   lesson    on   how 

to   strike   a   bargain 


lllllimiJlllllMMmilllMIIMMIIItlllMI 


Number  3 


Published    Monthly  by    Brewster    Publications,   Inc.,    at    Jamaica,  N.  Y. 

Entered   at   the   Post    Office   at   Jamaica,    N.    Y.,    as   second-class    matter,    under    the    act    of    March    3rd,    1S79. 

PRINTED    IN    U.    S.    A. 

Eugene    V.    Brewster,    President    and    Editor-in-Chief;     Guy    L.     Harrington,     Vice-President    and    Business    Manager;    L.    G.    Conlon,    Treasurer; 

E.    M.    Heinemann,    Secretary 

EXECUTIVE    and   EDITORIAL   OFFICES,   175    DUFFIELD    STREET,   BROOKLYN,    N.   Y. 

Elsie   Seeligmann,    Editor 


Adele    Whitely    Fletcher,    Managing    Editor 


Jerome   Hart,   Associate  Editor 


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Copyright,   1922,   by  Brewster   Publications,    Inc.,   in   the   United  States   and   Great   Britain 


-yrr- 


^&-&: 


'C^fc^ezzcn 


^3s5nn 


Page  Five 


CHINOISERIE— 

By  Bryant  Coleman 

— Red  and  Gold 

A  Slave: 

Three  years  I  have  dwelt  in  the  red  and  gold  pavilion — 
Golden  arc   the  walls,   the  hangings  are   crimson; 
The  bed  is  red-lacquered,  with  a  canopy  of  yellow  silk. 

My  robes  are  of  crimson  silk,  I  have  rings  and  ear- 
rings of  gold. 

Always  there  are  poppies,  scarlet  poppies 
In  ox-blood  vases,  in  golden  bowls. 

Ail     I  would  give  all  my  rings,  all  my  ear-rings, 
My  robes  of  crimson  silk, 

For  a  window  from  which  I  might  see  a  willow  tree 
against  the  sky. 


— Green  and  Silver 

A  Poet: 

Three  years  I  have  dwelt  in  this  room — rock-wallcd: 
silvery-grey. 

Sometimes,    seated     before    a    moon-white    vase     of 

silver  lilies, 
Clad  in  a  green  robe,  I  write  with  green  ink 

on  silver  paper. 

Now  I  sit  regarding,  from  the  window, 
The  silver  of  rain  against  a  willow  tree. 


Page  Six 


THE  LETTER 

An  original  ivater-color  poster 
By  Giro 


THE  FAN 

From  the  original  oil  painting 
By  Carle  J.  Blenner 


ROSE  ROLANDA 

The  shadow  connotes  a  spark  of  wickedness  in  Rose  Rolanda's  dancing. 
Those  who  have  seen  her  in  the  "Music  Box  Revue"  say  the  shadow  is  right 


Photo  by  Nickolas  Muray 


■«««™ 


GLOUCESTER 
HARBOR 


AFTERGLOW 

"His  waters  move 

and  vibrate  in 

the  light" 


' 


:-:.r-~--:—    - 


■ 


EXPlfS&SSDN 


nm^  ACT£ 


Hayley  Lever,  Individualist 

The  artist  who  believes   that  man  may  draw  inspiration 
from  all  sources,  but  that  the  only  deadly  sin  is  imitation 

B}>  Edgar  Holger  Cahill 


THIS  has  been  called  an  age  of  individualism.  It 
probably  is ;  but,  then,  ages  are  tricky  things.  They 
have  a  way  of  turning  around  and  contradicting 
themselves.  Our  individualistic  age,  in  consequence,  is 
an  age  of  rampant  collectivism. 

In  the  arts,  never  was  there  such  a  time  for  sectarianism. 
Slogans  enlist  the  en- 
thusiasms of  thousands, 
and  a  myriad  of  eager 
brushes  are  raised  in 
battle  under  any  con- 
venient standard.  Men 
are  judged  not  on  their 
own  merits  or  demerits 
as  painters,  but  as 
members  of  groups :  of 
the  academic  group,  the 
not-so-academic  group, 
the  cubist  group,  the 
futurist  group,  the  ex- 
pressionist group,  and 
so  on  world  without 
end  or  beginning. 

For  all  our  vaunted 
individualism  there  is 
too  much  hallooing 
with  the  pack  in  con- 
temporary art.  And  the 
packs  are  so  numerous. 
One  could  almost  wish 
that  American  artists 
had  taken  a  tip  from 
the  politicians,  and 
adopted  the  two-party 
system.  If  we  must 
live  under  the  tyranny 
of  sects  and  parties,  let 
us  have  as  few  as  pos- 
sible. But  of  real  in- 
dividuals we  can  never 
have  too  many. 

It  is  always  a  blessed 
relief  to  find  an  artist 
who  has  the  courage 
not  to  be  ashamed  of 
his  own  individuality, 
and  to  face  the  world 


Photo  by  Lumiere 

HAYLEY  LEVER 
Who  records  his  impressions  honestly — who  realizes  that  all  art   is 
lyrical — a  song  of  the  individual  spirit  in  the  dark  forest  of  the  world 


as  himself,  and  not  as  a  member  of  some  group  or  other. 
Meeting  such  a  man  in  our  day  is  like  stepping  out  of  a 
subway  crush  into  a  green  and  quiet  place  where  a  lone 
shepherd  plays  the  Pan  pipes  under  the  trees. 

I  always  think  of  something  like  that  when  I  look  at 
the  work  of  Hayley  Lever.     In  all  his  painting,  whether 

it  is  of  boats  dancing 
on  the  waters  of  the 
Cornish  coast,  the  ferry 
.  bridges  and  boats  and 
streets  of  Gloucester, 
Massachusetts,  the 
steaming  asphalt  high- 
ways of  New  York 
City,  or  the  gently  up- 
heaving Catskills  about 
Woodstock,  it  is  always 
Lever  who  addresses 
us. 

Lever  is  an  individ- 
ual. I  will  wager  that 
even  in  Australia, 
where  he  was  born  in 
1876,  and  where  he  first 
learned  the  use  of  the 
brush,  sometimes  work- 
ing as  a  house  painter, 
that  he  had  a  very  per- 
sonal way  of  putting 
the  pigment  on  clap- 
board and  shingle. 

Lever  has  always 
maintained  that  indi- 
viduality. When  he  left 
Australia,  at  eighteen 
years  of  age,  he  discov- 
ered St.  Ives,  Cornwall. 
And  he  immediately  ap- 
propriated it  to  himself. 
I  say  appropriated,  ad- 
visedly, for  of  the 
many  painters  who 
have  painted  St.  Ives, 
no  one  has  made  the 
place  so  peculiarly  his 
own  as  has  Hayley 
(Continued  on  page  77) 

Page  Eleven 


Photo  by  Van  Riel,  B.  A 


CLAUDIA  MUZIO 

Metropolitan  opera  goers  who  can  appreciate  singing  in  its 
most  emotional  and  dramatic  forms  and  who  are  judges  of 
acting  will  note  with  great  regret  that  Claudia  Muzio  is  no 
longer    on    the    roster    of    New    York's    leading    opera    house 


Page  Twelve 


Photo  by  Bruguiere 


ERIKA  MORINI 

Great  women  violinists  are  rare,  but  Eriha  Morini  is  one  of 
the  greatest  since  Madame  Norman  Neruda.  She  made  her 
New  York  debut  two  seasons  ago  when  barely  fifteen.  Her 
technique  is  almost  flawless,  while  she  achieves  great  beauty 
of  tone.  By  and  by,  doubtless  when  she  becomes  more 
mature,  Erika  Morini   will    be   in   the   hierarchy   of   violinists 


Page  Thirteen 


■■ 


With  Wynn 
in  Berlin 


HOT  DOGS 
The  truth  of  the  matter  is  that  these  succulent  dainties 
are  really  indigenous  to  the  land  of  the  dachshund.    The 
Coney    Island    species    have    merely    been    transplanted 


UNTER  DEN  LINDEN 

Berlin's  glass  of  fashion  and  ex- 
ceedingly large  mould  of  form 


Page  fourteen 


THE  BANK  CLERK 

He  is  still  waiting  for  the 
perfume  to  start  his  "From 
Mom  to  Midnight"  complex 


THE  STUDENT 

Phrenology  does  not  apply. 
Some  day  this  young  degree  col- 
lector   will    startle    the    world 


THE  COSMOPOLITAN 

A  week  at  Brighton,  a  week- 
end at  St.  Moritz.  Result- 
one  monocle   and  a  feather 


STATUES  IN  THE 
TIERGARTEN 

The  left-hand  statue  rep- 
resents a  young  gentleman 
just  after  taking  a  dare; 
on  the  right,  immediately 
after  carrying  it  thru.  He 
plucked  a  flower  right 
under  a  "Verboten"  sign 


Page  Fifteen 


Copyright,  1922,  Revillon  Freres  Photo  by  Robert  J.  Flaherty 

Illimitable  spaces  of  barren  land  under  a  cold  Alaskan  sky 


Page  Sixteen 


The 

Sand  Dunes 

of  Indiana 

Photos  by  Frank  M.  Hohenberger 


They  stretch  for  twenty 
miles  along  the  shore  of 
Lake  Michigan.  Their  ever 
changing,  drifting  outlines, 
dark  with  trees  or  brilliant 
with  bloom,  form  a  country 
which  is  unique  and  wonder- 
ful,  quite  different  from  the 
usual  idea  of  a  dune  country 


The  hollows  are  marshy  and  thick 
with  cat-tails,  sedge  and  cinnamon 
ferns;  the  soft  blending  of  the  browns 
and  greens  forms  an  exquisite  contrast 
to  the  more  brilliant  covering  of  the 
higher  land  where  violets,''  hepaticas 
and  trillium  form  a  perpetual  garden. 
The  glossy  green  of  the  trees,  relieved 
here  and  there  by  a  flowering  dogwood, 
turns  in  autumn  to  living  flame  quiv- 
ering against  the  ashes .  of  the  sand 


Page  Seventeen 


W^M 


m^i^m 


Drawn  by  Robert  James  Malone 


POLA  NEGRI 

Her  three  outstanding  characteristics,  eyes,  hair 
and  expressive  shoulder,  stand  out  in  ihiz 
clever   caricature    of   the    Viennese   film    star 


Page  Eighteen 


Our  Novels  as  Mirrors 

More  and  More  our  Novelists  are  Making  Literary  Use  of  the  Imbecilities  and  Con- 
tradictions which  make  up  the  Intellectual  Equipment  of  the  Average 

American  Citizen 

By  Burton  Rascoe 


NO  country — not  even  the  country  of  Samuel 
Smiles  or  of  Pastor  Wagner — has  so  perfected  and 
standardized  the  axioms  of  material  well-being 
and  success  as  has  the  United  States.  Benjamin  Franklin 
was  our  first  great  national  philosopher,  by  which  I  mean 
the  philosopher  who  articulated  the  national  ethic  and 
gave  direction  to  the  communal  sense  of  the  greater  good. 
William  James  and  the  Pragmatists,  Artemus  Ward,  Peter 
Finley  Dunne,  George  Ade,  E.  H.  Howe,  Will  Rogers, 
and  Ring  Lardner  are  Franklin's  legitimate  successors 
and  he,  or  the  race  spirit,  must  accept  parentage  too 
for  Abe  Martin,  the  late  Elbert  Hubbard,  Dr.  Frank 
Crane,  Arthur  Brisbane,  the  Booster  buttons  and  the 
Rotary  Club  bulletins. 

It  was,  from  the  first,  a  philosophy  of  ebullient  opti- 
mism, as  befitted  a  youngish  country,  and  it  inculcated  the 
homely  and  healthy  truths  of  orderly  living,  hard  work, 
economy,  thrift,  honesty  and  good  will.  Franklin's 
"Early  to  bed  and  early  to  rise,  makes  a  man  healthy, 
wealthy  and  wise"  informed  the  national  consciousness 
with  a  direct  inspiration  which  the  combined  wisdom  of 
all  the  Concord  sages  was  never  able  to  impart.  It  was 
a  sustaining  philosophy  because  it  met  the  particular  needs 
and  inspirations  of  a  hardy  and  pioneer  people,  who  were 
just  beginning  to  exploit  the  prodigious  resources  of  a 
vast  new  country.  It  degenerated  into  a  false  and  inflated 
philosophy,  into  a  specious  and  ruinous  stimulant  when 
the  pioneer  spirit  died  of  inanation,  the  economic  pressure 
became  acute,  and  the  exploitation  of  human  beings  was 
substituted  for  the  exploitation  of  land,  rivers  and  min- 
erals. With  the  development  of  industrial  competition, 
ingenuity,  trickery,  knavery  and  self-deception  became 
the  necessary  factors  of  material  success.  Whereas  men 
had  formerly  used  their  hands  in  wrestin'  a  living  from 
the  soil,  men  now  used  their  heads  to  wrest  a  living  from 
their  neighbors.  In  the  larger  cities  this  often  amounts 
to  a  deadly  battle  of  nerves  and  wits,  wherein  the  weaker 
or  the  less  callous  perish  in  bankruptcy,  poverty  and 
spiritual  disintegration. 

The  Unprepared  Mind 

The  trouble  is  that  victory  itself  is  seldom  sweet.  By 
using  their  minds  exclusively  and  foregoing  the  creative 
thrill  to  be  derived  from  tilling  the  soil,  building  shelter 
and  fashioning  beautiful  or  practicable  things,  men  have 
established  a  dangerous  habit  of  dependence  upon  their 
minds  for  their  play  as  much  as  for  their  means  of 
earning  a  living.  And  their  minds  have  not  been  prepared 
for  that  emergency.  Their  faculties,  frequently,  have 
been  too  much  occupied  in  schemes  of  cheating  for  them 
to  know  how  to  use  them  in  their  moments  of  leisure. 
With  the  acquisition  of  money  and  power,  American 
men,  especially  the  great  captains  of  industry  in  the  era 
immediately  antecedent  to  our  own,  have  not  known 
what  to  do  with  them.  The  more  sensible  ones — sensible 
of  their  limitations — have  gone  ahead  piling  up  more 
money  because  that  was  the  only  creative  satisfaction 
they  knew.  Some  others  have  satisfied  their  vanity  in  a 
pathetic  and  spectacular  philanthropy.  Others  have  em- 
ployed experts  to  hoard  up  for  them  the  procurable  art 


treasures    of    Europe.      And    still    others    have    fulfilled 
thwarted  and  infantile  desires  in  neronian  debauches. 

Meanwhile  the  maxims  of  Franklin  have  been  fused 
into  a  pseudo-philosophy  to  meet  the  imperative  needs 
of  a  stifling  economic  pressure.  "Keep  Smiling!"  "Do 
it  now  !"  "Cheer  up  !"  "Be  a  booster  !"  and  such  exclama- 
tory inanities  are  not  a  philosophy  but  doses  of  verbal 
heroin  and  cocaine  to  stimulate  a  false  and  over-wrought 
enthusiasm  for  dubious  endeavors.  They,  too,  are  more 
or  less  necessary  to  keep  up  a  brave  front,  and  the  fact 
that  they  are  opiates  cynically  administered  by  commission 
men  on  the  parasitic  fringe  of  industrialism  who  profit 
from  the  spurts  of  false  energy,  does  not  make  them  any 
the  less  necessary :  the  administers  of  the  drugs  are  vic- 
tims, often,  of  their  own  opiates  and  stimulants. 

The  Acquisitive  Instinct 

The  effects  of  all  this  are  beginning  to  be  reflected  in 
our  national  literature.  Criticism,  direct  or  implied,  of  our 
social  and  economic  scheme*,  our  cultural  development, 
and  our  national  philosophy  of  success  in  life  is  to  be 
found  in  every  serious  novel  or  .essay-  that  comes  from  the 
presses.  The  symposium  of  thirty  Americans  in  "Civil- 
ization in  the  United  States"  and  the  series  of  articles 
now  running  in  the  Nation  under  the  general  heading 
"These  United  States"  are  illustrative  of  the  direct  attacks 
being  made  upon  the  system  of  life  which  has  been  evolved 
out  of  a  nominal  democracy  in  industrial  competition. 
On  the  physiological  and  neurological  side  the  effects  are 
even  more  visibly  devastating :  one  might  gather  from 
the  number  of  books  being  published  on  psychology,  psy- 
chiatry, psychoanalysis,  psycho-pathology,  hygiene  and 
health  that  America  was  one.  vast  insane  asylum.  These 
books  are  indices  of  the  strain  modern  urban  life  imposes 
upon  the  human  mechanism  and  of  the  neuroses  developed 
as  the  result  of  the  improper  functioning  of  the  creative 
faculties  in  work  and  play. 

The  more  significant  spiritual  effects  of  such  conditions, 
however,  are  to  be  found  in  their  artistic  by-products. 
The  art  of  a  nation  invariably  reflects  the  state  of  that 
nation's  soul.  The  elder  reactionary  and  academic  critics 
of  America,  such  as  Dr.  Brander  Matthews,  Paul  Elmer 
More  and  Stuart  Pratt  Sherman,  have  been  violently 
umbrageous  toward  the  American  novel  on  the  score 
that  it  does  not  meet  the  primary  requirement  of  art, 
which  is  that  it  mirrors  the  hopes  and  aspirations  of  the 
times  and  people.  Shut  up  in  their  ivory  towers  these 
good  men  havd  failed  to  perceive  that  that  is  precisely 
what  the  American  novel  does  and  has  done. 

To  take  a  particular  example,  in  the  butt  of  reactionary 
critical  animosity — the  work  of  Theodore  Dreiser — we 
have,  seen  thru  the  alembic  of  Dreiser's  troubled  vision, 
an  accurate  and  disturbing  picture  of  phases  of  American 
industrialism.  Dreiser  is  a  romantic  naturalist  who  finds 
an  epic  grandeur,  in  the  rise  of  individuals  to  merciless 
and  remorseless  power  thru  an  adaptation  of  their  com- 
bative instincts  to  the  peculiar  conditions  of  the  American 
struggle  for  existence.  To  win  out  in  such  a  struggle 
requires  imagination  and  energy,  an  amenable  and  dis- 
ciplined  conscience   and    a    highly   developed    acquisitive 


Page  Nineteen 


SuiADOWLAND 


instinct.  Dreiser's  depiction  of  the  last  named  attribute 
is  the  thing  that  has  caused  his  critics  to  wince  and  to 
declare  his  picture  false.  Mr.  Sherman  records  sarcas- 
tically and  with  an  implication  that  Dreiser  is  wrong, 
that,  in  Dreiser's  novels,  "The  male  is  characterized  by 
cupidity,  pugnacity,  and  a  simian  inclination  for  the  other 
sex.-'  Those  characteristics  are,  precisely  (being  only 
.synonyms  for  the  attributes  I  have  named  a  few  sentences 
back),  what  go  to  make  up  men 
like  Frank  Cowperwood. 

The  acquisitive  instinct,  as  all 
psychologists  know,  is  an  instinct 
for  self-aggrandizement  by  the 
number  and  value  of  possessions ; 
it  has  moreover  an  erotic  basis ; 
and  the  possessor  of  a  powerful 
acquisitive  instinct  is  most  likely 
to  have,  in  Mr.  Sherman's  words, 
"a  simian  inclination  for  the  other 
sex."  If  that  inclination  is  not 
sublimated  into  an  acceptance  of 
symbols  of  the  primary  object  of 
desire,  the  acquisitive  male's  ama- 
tory conquests  do  take  on  a  simian 
aspect.  And  if  Mr.  Sherman  has 
failed  to  observe  this  he  had  been 
pathetically  blind  to  human  be- 
havior as  it  is  manifested  all 
around  him.  Dreiser's  novels, 
then,  are  documentary  volumes  in 
certain  aspects  of  our  contempor- 
ary social  history.  Those  aspects 
are  gradually  changing  under  con- 
ditions brought  about  by  the  meta- 
morphosis of  industry  from  spec- 
tacular individual  effort  into  cor- 
porate production,  inherited  capital 
and  transmitted  power. 

In  Newton  Fuessle's  excellent 
novel',  "Gold  Shod,"  we  observe 
the  first  evidences  of  the  transi- 
tion. Here  we  have  a  Dreiserian 
hero,  not  as  a  Napoleon  of  indus- 
try, not  as  a  great  schemer  and 
organizer,  but  as  a  capable  and 
highly  imaginative  factor  in  a  huge 
tentacled  industry.  He,  too,  has 
the  acquisitive  instinct,  but  it  is 
complicated  with  a  creative  im- 
pulse which  is  not  satisfied  by 
check-mating  his  rivals  in  financial 
enterprise  or  by  erratic  affairs  of 
the  heart.  He  has  indeterminate 
desires  which  monetary  success 
does  not  satisfy ;  he  is,  indeed,  the 
more  overcome  with  a  sense  of 
frustration  the  more  his  business 
acumen  results  in  easy  victory. 
He  has,  in  fine,  a  desire  to  express 
himself  in  one  of  the  arts,  because 
he  senses  in  the  arts  a  symmetry 
and  beauty  he  is  unable  to  find  in 
life  as  he  lives  and  knows  it.  This, 
then,  is  the  first  step  toward  the 

realization  of  cultural  ambitions   from  the  feudal  enter- 
prises of  our  industrial  history. 

In  Sherwood  Anderson's  "Windy  MacPherson's  Son" 
we  have  again  an  intimation  of  this  same  tendency  to 
aspire  to  a  beauty  that  lies  outside  of  machines  and  com- 
petition, industrial  wars  and  throat-slitting  economics. 
It  is  thus  that  our  serious  novels  have  not  only  mirrored 
the  society  of  their  times  but  have  revealed  the  tendencies 
beneath  them.     In  the  novels  of  Edith  Wharton  and  the 


POETS 

By  Paul  Tanaquil 

Swinburne 
Love   and  Lust 

Hand   in   hand 
Dance  a  languorous 

Saraband 
In  the  shining  dust — 

Baudelaire 

The  white  wonder  of  my  lilies — 
Ah,  their  pallid  loveliness 

To  my  lips  more  cool  and  still  is 
Than  a  bought  red  mouth's  caress 

Fair  and  slim,  straight  and  tall, 

Poison  lingers  in  them  all  .  .  . 

Dobson 

One  song 

Vibrant  with  pain — 

Of   fair   things    wrong, 
Of  dreamed  things  vain, 
Of  sweet  things  slain — 

Till   I   knew   suddenly 
The  song  was  all  of  me. 

Masefield 
His   song   is   a  magic 

Stream 
Down  from   a  white  peak — 
And,   as   I  hear   him   speak, 
He  seems  like  one  bewitched 
in    dream 
By  his   own   music. 


short  stories  of  Mary  Wilkms  Freeman  we  have  seen  the 
tragedy  inherent  in  the  survival  of  Puritanic  codes  long 
after  the  conditions  requiring  them  have  passed.  And  in 
the  novels  of  William  Dean  Howells,  Hamlin  Garland 
and  Henry  Blake  Fuller  we  have  the  cultural  aspirations 
of  the  less  acquisitive  as  they  were  realized  dimly  and 
vaguely  and  without  passion  by  the  timid  bearers  of  the 
torch  when  great  energies  were  involved  in  industrial 
enterprise. 

Now  comes  an  era  of  more  acute 
dissatisfaction,  given  impetus  by 
the  disillusions  of  war — an  era  of 
inquiry  and  criticism,  of  vigorous 
and  insistent  pretest  against  our 
social  and  economic  organization. 
It  takes  form  in  the  bitter  ironic 
apathy  of  the-later  works  of  James 
Branch  Cabell ;  in  the  penetrating 
and  sympathetic  analyses  of  the 
cramped,  petty  tragedies  of  Ameri- 
can village  life — the  Winesburg 
stories  of  Sherwood  Anderson ;  in 
the  nagging  contemptuousness  of 
"Main  Street" ;  in  the  shrill  and 
snarling  denunciations  of  Ben 
Hecht ;  in  the  inverted  sentimen- 
talism  of  the  cynical  younger  nov- 
elists ;  in  the  hurt  and  beautifully 
mournful  Icaruses  of  Willa 
Cather,  Joseph  Hergesheimer,  and 
Thomas  Beer. 

But  a  mirthful  mockery  at  the 
situation  has  not  been  realized  in 
fiction  so  well  and  so  completely  as 
in  Sinclair  Lewis's  new  novel, 
"Babbitt."  It  is  a  vast  improvement 
over  "Main  Street."  The  tone  in 
that  book  was  surly;  in  "Babbitt" 
Mr.  Lewis  has  mellowed  his  dis- 
content with  a  sympathetic  irony : 
he  is  merry  at  his  bero's  expense, 
viewing  him  with  a  disapproving 
but  tolerant  eye.  Even  the  milieu 
he  depicts  with  a  sane  and  humor- 
ous point  of  view.  And  in  "Bab- 
bitt" the  milieu  is  almost  every- 
thing, the  story  almost  nothing. 
He  has  set  himself  to  portray  the 
business,  social,  and  cultural  life 
as  it  exists  in  the  larger  industrial 
cities  of  America.  He  aims  to 
show  how  the  average  successful 
citizen  of  such  a  community  lives, 
what  he  thinks,  how  he  uses  his 
leisure,  how  he  receives  and  forms 
his  opinion,  what  his  small-talk  is, 
what  his  relationships  with  men 
and  women  are. 

He  has  succeeded  superbly.    No 
novel  of  the  period  is  more  min- 
utely   documented.      Flaubert    in 
"Bouvard  et  Pecuchet"  utilized  the 
imbecilities,  inanities,  and  contra- 
dictions   of    human    conversation 
and    expressed   beliefs   which   he   had   gathered   together 
for  his  projected  dictionary  of  accepted  ideas.     Mr.  Lewis 
has  made  literary  use  of  the  imbecilities,  inanities,  and 
contradictions. which  go  to  make  up  the  intellectual  equip- 
ment   of    the    average    contemporary    American    citizen. 
Listen  to  this,  (Babbitt  has  been  reading  the  newspaper)  : 
But  this,  say,  this  is  corking!     Beginning  of  the 
end   of   those   fellows!      New    York   Assembly    has 
(Continued  on  page  68) 


Page  Twenty 


More  to  be  Censored 
Than  Famed? 

Sketches  by  Clayton  Knight 


Royalty  deliveries  by  the 
Ether  Transportation 
Company  had  been  so  few 
and  far  between  that  the 
Olympian  A  uthor's  League 
had  not  even  been  able 
to  keep  up  their  daily 
supply  of  Pierian  Spring 
water.  A  committee  form- 
ed itself  to  investigate 
conditions,  and  we  see 
two  of  the  members, 
Rabelais  and  Petronius, 
starting  for  the  Earth, 
while  King  Solomon, 
Ovid  and  Boccaccio  shout 
advice    from     the     shore 


Elsie  Dinsmore  and  Little  Rollo,  elated  at  the 
news  from  the  Inn,  mince  out  to  greet  the  in- 
famous Shades  and  persuade  them  to  turn  back. 
'We  are,"  they  chorus  sweetly,  "quite  capable 
of  managing  the  literary  affairs  of  the  Earth." 
Rabelais  for  once  is  not  even  Rebelaisian,  and 
Petronius  instead  of  uttering  a  satire  feels  like  one 


Here  we  find  at  Book- 
leg  Inn,  George  Moore 
meditating  on  his  new 
style;  David  Lawrence 
and  his  "Women  in 
Love,"  while  Jurgen, 
the  attentive  waiter, 
serves  Schnitzler's  din- 
ner party  to  Casanova 
and  the  Young  Girl. 
All  are  waiting  to 
greet  the  two  from  the 
great  Beyond.'  Just  be- 
fore the  hour  of  the 
meeting  a  bolt  of  Sum- 
mer .  lightning  com- 
pletely destroys  the 
edifice,  scorching  the 
waiting  guests 


Page  Twenty-One 


Japanese  Sword  Guards  as  Collecting  Objects 


By  W.  G.  Bowdoin 


JAPANESE  tsuba,  or  sword  guards,  have  ever  ap- 
pealed to  the  lover  of  Eastern  art.  The  best  of 
them  are  exquisite  in  design  and  workmanship,  beau- 
tiful in  color  and  contour,  and  picture  in  miniature  a 
wide  range  of  the  artistic  and  legendary  history  of  Japan. 
That  they  have  ever  been  numerous — and  this  is  not 
always  a  trial  to  an  earnest  collector — one  can  well  under- 
stand, for  in  the  feudal  days  of  Japan,  each  member  of 
the  military  class  carried  his  familiar  two  swords,  and  for 
each  sword  he  had  a  choice  of  tsuba,  rarely  less  than  a 
dozen  and  sometimes  even  hundreds,  which  could  be 
changed  to  vary  the  appearance  of  his  treasured  blades 
from  day  to  day  or  month  to  month. 

If,  then,  we  estimate  that  there  were  two  millions  of 
Samurai  in  1876,  when  Prime  Minister  Sanjo  signed  the 
decree  forbidding  the  carrying  of  swords,  we  may  assume 
that  tens  of  millions  of  sword  guards  came  sooner  or 
later  into  trade.  It  is  certainly  a  fact,  according  to  Bash- 
ford  Dean  of  the'  Metropolitan  Museum  of  Art,  that  about 
1880  the  markets  of  all  curio-loving  countries  were  flooded 
with  sword  guards,  and  that  never  before  or  since,  have 
such  admirable  specimens,  in  any  number  at  least,  found 
their  way  out  of  Japan. 

The  tsuba  had  to  be  of  suitable  size  to  protect  the  hand, 
strong  to  withstand  impact,  and  yet  light  enough  not  to 
interfere  with  the  proper  and  needful  balance  of  the  sword. 

Court  customs  and  regulations  played  an  important 
part  in  the  development  of  the  sword  guard.  The  swords 
of  the  Mikado's  court  at  Kyoto,  differed  from  those  of  the 
Tokugawa  aristocracy  at  Yedo,  as  well  as  from  the  shorter 
swords  which  commoners  were  once  privileged  to  wear 
on  certain  occasions. 
The  use  of  gold  in  the 
decoration  of  these  in- 
ferior swords  was  at 
one  time  strictly  for- 
bidden to  all  below  the 
rank  of  Samurai.  Lo- 
cal custom  again  often 
dictated  the  style  of 
tsuba  worn ;  thus  it  is 
not  difficult  for  anyone, 
even  slightly  acquainted 
with  the  subject,  to  rec- 
ognize the  guards  made 
in  certain  daimyates. 

Always  among  the 
Japanese  the  sword  was 
the  weapon  of  highest 
honor  and  the  famous 
saying :  "The  sword  is 
the  soul  of  the  Samur- 
ai" came  to  be  the  fer- 
vid expression  of  both 
loyalty  and  pride. 

Often  the  Emperor 
assisted  in  the  making 
of  a  sword  blade.  The 
adoration  of  the  blade, 
common  to  almost  all 
ancient  races,  never  at- 
tained so  high  a  signifi- 
cance or  found  such 
artistic  expression  as 
among  the  Japanese. 


A  CEREMONIAL  SWORD  GUARD  BY  YUKAN 

The  foundation  is  of  yellow  bronze,  the  lotus  leaf  is  silver  bronze, 

and  the  Heron  is  inlaid  in  silver 


The  Samurai  ultimately  embodied  in  the  sword  their 
supreme  conception  of  honor  and  manhood.  In  the  icy 
steel,  born  of  fire,  they  saw  revealed  the  mystery  of  Life, 
indivisible  from  that  of  Death.  Its  serenity  taught  them 
the  virtue  of  that  self-control  which  calmly  prepares  for 
a  mighty  struggle.  In  the  unclouded  face  of  the  crystal- 
line blade  they  beheld  mirrored  the  purity  and  chastity,  so 
inseparable  from  true  loyalty.  The  most  precious  dowry 
a  bride  could  bring  to  a  Samurai,  was  the  honored  sword 
of  her  ancestors,  while  many  an  old  Japanese  drama  is 
based  upon  the  quest  and  recovery  of  some  lost  blade. 
His  sword  was  a  part  of  the  Samurai's  individuality,  and 
people  were  accustomed  to  judge  his  character  from  that 
of  his  weapon. 

A  legend  has  it  that  once  Taiko-Hideyosshi,  the  Japan- 
ese Napoleon,  saw  the  swords  of  his  Generals  lying  on 
a  rack,  in  the  antechamber  of  his  palace,  and  so  expressive 
was  their  personification,  that  he  at  once  recognized  to 
whom  each  belonged. 

Next  in  importance  to  the  blade  itself,  came  the  tsuba 
and  the  menuki,  the  central  stud  on  the  hilt.  To  illustrate 
the  frame  of  mind  in  which  the  Kamakura  knights  ap- 
proached the  tsuba,  we  may  cite  their  custom  of  having 
it  consecrated  by  the  holy  fathers  of  the  Buddhist  Church. 
As  it  emerges  from  the  darkness  of  the  unknown,  into 
the  twilight  of  mythology,  we  find  the  Japanese  race 
armed  with  a  sword  of  which  the  tsuba  forms  an  import- 
ant accessory.  In  the  legendary  creation  of  the  world, 
it  is  set  forth  that  the  Primeval  Mother,  after  bearing 
the  Sun  Goddess,  the  Moon  God,  and  other  deities,  ex- 
pired in  the  act  of  giving  birth  to  the  Fire  God:     The 

Primeval  Father,  whose 
mighty  sobs  created  the 
Goddess  Echo,  at  last 
in  a  frenzy  of  grief 
drew  his  sword  and 
killed  the  unhappy 
cause  of  his  suffering. 
From  the  hewn  body  of 
the  slain  God  rose  the 
mountains ;.  volcanoes 
sprang  from  his  welling 
blood;  of  the  gory 
drops  which  bespatter- 
ed the  Father's  tsuba, 
was  born  a  race  of 
war  gods  thru  whose 
achievements  the  con- 
trol of  the  Island  Em- 
pire came  to  the  de- 
scendants of  the  Sun 
Goddess. 

Some  of  the  early 
tsubas  were  thickly 
coated  with  lacquer, 
and  the  conventional- 
ized hexagon  was  used 
to  give  some  their 
shape. 

Later,  gilt  bronze  was 
used  as  the  metal  base. 
Fine  patterns  were 
chased  over  some  of 
these  and  the  modified 
(Continued  on  page  74) 


Page  Twenty-Tzvo 


Photo  by  Dickson 


Harvest 

Interpreted  by  The  Dufour  Dancers 


These  dancers  scorn  orchestras  and  subdued  lights; 
the  music  of  the  wind,  the  bright  rays  of  the  sun 
and  Nature  as  a  back-drop  are  the  only  props  they 
desire  for  their  art.  Elise  Dufour,  their  leader, 
believes  the  dance  must  be  closely  related  to  daily 
life,  for,  she  thinks,  it  is  as  necessary  to  dance  and 
develop  the  body  and  express  the  soul  as  it  is  to 
wear  clothes  to  keep  the  body  warm  or  to  hear 
lectures  to  improve  the  soul.  So,  the  Dufour 
Dancers  dance  with  the  wind,  the  waves,  the  moon- 
light, the  rustling  trees  and  the  music  of  the 
spheres.  And  when  they  do  use  a  stage,  they 
endeavor  to  bring  the  spirit  of  Nature  with  them 


Page  Twenty-Three 


S^:i^±^h_^fU— a. 


Photo  by  Edwin  Bower  Hesser 

INA  BOURSKAYA 
Described  by  Chicago  critics  as  "the  greatest  Carmen  since  Calve," 
this  former  star  of  the  Russian  Grand  Opera  Company  recently 
made  a  sensational  success , at  the  Ravinia  Park  Opera,  and  has 
been  engaged  by  both  Metropolitan  and  Chicago  Opera  Companies 
for  a    series   of   special  performances 

THE  song  birds  are  hieing  them  back  from  their 
summer  homeland  to  their  winter  quarters  on. Man- 
hattan Island.  By  the  time  this  copy  of  Shadow- 
land  is  in  the  hands  of  its  readers,  impresario,  singers, 
conductors,  dancers,  regisseurs,  repetiteurs,  and  goodness 
knows  how  many  others,  will  be  safely  back  in  the  ugly 
old  opera  house  on  Broadway,  preparing  with  feverish 
baste  for  another  six  months'  season  of  opera. 

And  at  once  subscribers  and  the  general  public  com- 
mence eagerly  to  inquire  what  novelties  and  what  new 
singers  the  general  director  and  committee  have  decided  to 
provide.  Gatti-Casazza  is  fond  of  keeping  his  own  coun- 
sel in  these  matters  almost  up  to  the  last  moment,  altho 
just  before  leaving  for  his  Italian  villa  in  May  he  dis- 
closed a  few  facts. 

At  the  time  of  writing,  the  Metropolitan's  genial  pub- 
licity director,  Willy  Guard,  had  not  returned  from  Italy, 
where  he  also  has  been  sestivating,  and  the  little  office  on 
Thirty-ninth  Street  was  deserted  save  by  the  pleasing 
lady  who  from  her  window  has  seen  more  famous  singers 
come   and   go    than    could    find    room    at    one    time,    upon 


Operatic 
Anticipations 

Some  interesting  novelties  and  sev- 
eral new  artists  of  note  will  be  heard 
at    the    Metropolitan    this    season 

By  Jerome  Hart 


the    ample    stage    of    the    Metropolitan. 

Nevertheless  we  are  in  the  position  to 
forecast  with  tolerable  certainty  some 
of  the  principal  singers  and  operatic  and 
terpsichorean  novelties  of  the  coming 
season. 

To  begin,  it  is  settled  that  Marie  Jer- 
itza,  around  whom  the  storm  clouds  are 
already  gathering,  will  reopen  the  opera 
house  in  "Thais."  At  once  the  question 
arises — will  she  sing  the  part  made 
famous  by  Mary  Garden  in  French  or 
Italian?  The  blond  and  athletic  Vien- 
nese prima  donna  would  be  scarcely 
likely  to  sing  it  in  German,  although  she 
has  employed  that  language  in  her  own 
country   in   singing  "Salome,"   which,  of 


,  TAMAKI  MIURA 
The  charming  and  petite  Japanese  prima  donna, 
who  makes  the  most  perfect  Madame  Butterfly 
ever  seen  or  heard.  She  has  been  singing  this 
season  with  Fortune  Gallo's  San  Carlo  Opera 
Company.  She  believes  in  the  independence  of 
Japanese  women,  and  opposed  the  will  of  her 
husband    and    family    in    coming    to    America 


Photo  by  Daguerre,  Chicago 

MRHMMH*aSIMHHBMIHMi 


%  :\ 


Page  Twenty-Four 


SuiADQWlAND 


course,  was  originally  written  by  Oscar 
Wilde  in  French,  and  has  always  been  sung 
in  that  language  by  Mary  Garden. 

But  Jeritza's  French  is  a  few  shades 
worse  than  her  Italian,  and  altho  Our 
Mary's  is  none  of  the  best,  one  has  grown 
accustomed  to  her  slight  eccentricities  of 
accent.  We  imagine,  however,  that  Strauss's 
opera,  if  given  at  all,  will  be  sung  in  the  lan- 
guage in  which  it  was  originally  written,  and, 
the  Metropolitan  having  no  completely 
French  cast  available,  we  shall  have  the  usual 
hotchpotch  of  Italians,  Germans  and  Amer- 
icans, as  well  as  few  other  nationalities,  all 
singing  in  a  language  with  which  most  of 
them  are  imperfectly  acquainted. 

Flow  different  from  the  old  days  under 
Grau,  Hammerstein  and  Campanini,  when 
French  artists  sang  in  French  opera,  German 


EDWARD  JOHNSON 

A  Canadian-American  singer  who  rose  to  the  posi- 
tion of  leading  tenor  at  the  famous  La  Scala,  Milan, 
where  he  sang  under  the  name  of  Eduardo  di  Gio- 
vanni, His  performances  with  the  Chicago  Opera 
Company  in  this  country  stamp  him  as  an  artist  of 
the  first  rank.  He  joins  the  Metropolitan  Opera 
forces  this  season 


ANNA  FITZIU 
Irish-American  prima  donna,  formerly  of  the  Metro- 
politan and  Boston  Opera  Companies,  and  now  with 
the  San  Carlo  Company.  She  is  a  beautiful  woman 
with  a  beautiful  voice  ,  and  in  the  opera_  "Isabeau" 
was  a  memorable  Lady  Qpdiva.  Mascagni  himself 
selected  her  to  interpret  the'  part  in  South  America 

Photo  by  Mishkin,  N.  Y. 

"    """"      "■  ,  .....      .  . 


■m3 
Photo  by  Moffett,  Chicago 


MARIE 
RAPPOLD 
One  of  the 
most  distin- 
guished and 
accomplished 
of  American 
operatic  artists 
and  a  great 
popular  favor- 
ite. Her  ap- 
pearances with 
the  San  Carlo 
Opera  Com- 
pany in"Aida" 
and  other 
operas  have 
brought  her 
fresh  laurels 


Photo  by  Cartpbell  Studio.  N.  Y 


in  German  and  Italian  in  Italian,  with  a  few  Amer- 
icans of  talent  in  prominent  roles!  One  then  got 
really  national  interpretations  of  ajmost  every  work 
presented. 

Jeritza  is  very  anxious  to  be  heard  here  in  "Sa- 
lome," and  she  succeeded  a  few  weeks  ago  in  induc- 
ing Gatti-Casazza  and  Otto  Kahn  to  visit  Vienna 
especially  to  hear  her  in  the  role.  Last  season  she 
attended  a  performance  of  Strauss's  work  by  the  Chi- 
cago Company,  when  she  was'  accompanied  by  the 
composer.  This  fired  her  with  the  desire  to  shew'  New 
Yorkers  that,  given  the  chance,  she  could  do  much 
better  than  Mary  Garden.  So  she  arranged  for  the 
special  performance  in  Vienna,  with  the  eminent 
(Continued  on  page  70) 


Page  Tiventy-Fkx 


Where  Bargaining  is 
the    Soul    of   Trade 

A  tour  of  the  little  cobwebby 

second-hand   shops    of   Paris 

in  search  of  an  antique  bauble 

or  bowl  or  brochure 

By  Francis  F.  Fulton 

else  is  there  another  such  bowl.  I  will  be 
generous.  Yes !  Monsieur  can  take  it  to  his 
wife,  with  my  compliments,  for  thirty 
francs." 

"Merci,  madame,  les  voila." 
"Je  vous  remercie,  monsieur,  prenes." 
Customer  and   shopkeeper  part  with  mu- 
tual   esteem,    far   greater   than    would    have 
existed    had    the    original    fifty-franc    price 
been  paid. 

There  are.  in  Paris,  many  of  the  stores 
where  prices  are  fixed,  but  very  few  of  the 
antique  shops  come  in  that  category ;  with 
them,  bargaining,  rather  than  competition,  is 
the  soul  of  trade. 


Outside  the  walls,  near  the  Port  St.  Ouen,  the 
Thieves'  Market  is  held  on  Sunday  mornings. 
During  the  week,  while  the  chiffoniers  and  others 
who  display  their  wares  there  are  busy  "finding" 
things  to  sell,  the  place  is  deserted  save  for  a  few 
wretched  creatures  who  haggle  for  hours  over  bits 
of   rusted   and   broken   iron 


Near  St.  Sulpice  is  a  tiny  shop  crowded  with  treasures  of 
the  ancient  world.  The  proprietress  is  uninterested  in  any- 
thing more  modern  than  the  fifteenth  century;  Ptolemy  and 
Hamurabi  are  her  friends,  Caesar  and  Justinian  are  expected 
in  at  any  moment,  but  until  they  come,  or  she  joins  them, 
it  is  her  greatest  pleasure  to  put  her  present-day  visitors 
on  intimate  terms  with   the   past 


a 


F 


IFTY  francs,  monsieur."  k 
"Fifty?"  in  tones  of  horror. 
"Oui,  monsieur." 

"But  it  is  too  much.    I  could  never  pay  that." 

A  shrug. 

"Figures-vous,  madame.  It  is  as  a  present  for 
my  wife  that  I  have  need  of  this  little  bowl.  It 
lacks  but  this  one  small  thing  for  her  complete  tea- 
service  of  pewter.  But,  fifty  francs!  She  will  be 
bitterly  disappointed." 

"It  would  be  a  shame  to  disappoint  madame. 
Perhaps,  if  monsieur  would  give  forty-five?" 

"She  has  seen  the  bowl  in  your  window,  and  has 
already  invited  friends  to  take  tea  and  admire  the 
completed  service.  Imagine  her  chagrin,  madame, 
— but  I  cannot  pay  more  than  twenty." 

"Twenty  francs  !  Ridiculous  !  But,  in  consider- 
ation for  the  guests  of  monsieur's  wife,  I  could 
sell  it  for  forty  francs." 

"I  am  sorry.  Twenty-five,  perhaps,  but  that 
would  not  interest  you.  Au  'voir,  madame.  Pos- 
sibly, somewhere  in  the  quarter,  I  can  find  another 
that  will  do." 

"Wait,  monsieur.  I  know  what  it  is  to  be  em- 
barrassed before  guests !    I  assure  you  that  nowhere 


Page  Twenty-Six 


SuAOGWLANO 


There  is  a  little  island. off 

the   coast  of   P'rance  whose 

inhabitants,  so  travelers  re- 
port,   make    their    living    by 

taking  in  each  other's  wash- 
ing.   I  have  a  theory,  which 

I    am    sure   is    sound,    that, 

centuries  ago,  the  Islanders, 

crowded    for    drying    room, 

dispatched  some  hundreds 

of  their  people  to   found  a 

colony  in  Paris.     That  they 

found  the  Parisian  blanchis- 

seusses  not  to  be  trifled  with 

and  so  were  robbed  of  their 

normal     trade     and     began 

buying  and  selling  each  oth- 
er's  mobiliers   there   can  be 

no  reasonable  doubt.     How, 

otherwise,  can  the  hundreds 

of    musty    little    shops    that 

are  almost  as  numerous  as 

the    cafes    in    that    city    of 

oasis     be     accounted     for? 

Surely  there  is  no  other  way 

of  explaining  the  distinc- 
tion   that    is    made    between 

the    stranger,    who   merely 

wishes  to  buy,  and  some  fel- 
low shopkeeper. 

A    courtesy   that    is   most 

casual  greets  the  individual 

who,  peering  thru  the  dusty 

window,  has  seen  something 

that  he  longs  to  possess. 

But  if  you  should   hear  an 

enthusiastic     chorus     of 

"E  pat  ant!"    and    "Comme 

c'esi   rigolo,"   and    find    the 

proprietor  excitedly  show- 
ing his  wares  to  some  equal- 
ly excited  person,  you  may 

be    quite    certain    that    that 

person   has   another   little 

shop,  just  as  dusty,   a   few 

doors  away.  They  are  am- 
ateurs, in  the  true,  sense, 
these  people,  and  if  you  can 
convince  them  that  you  have 
taste  and  discrimination, 
your  reward  will  be  great, 
for  you  will  see  things  that 
are  stored  away  waiting 
for  a  worthy  purchaser  and 

will  hear  tales  so  unbelievable  that  they  must  be  true — 
tales  woven  around  a  worn  Cashmere  shawl,  a  bit  of  old 
lace,  or  an  ancient  sword.     For  there  is  no  place  more 

full  of  stories  than  these  little  corners  of  the  world's 
attic. 

Not  all  the  antique  shops  are  cobwebby.  I  know  of 
several  that  are  immaculate,  even  in  the  winter,  and  most 
of  them  maintain  a  high  polish  during  the  tourist  sea- 
son. That  is  a  trying  period  for  them,  and,  although  it 
is  their  season  of  greatest  harvest,  most  of  the  shop- 
keepers are  sincerely  glad  when  it  is  over.  The  visitor 
is  usually  suspicious  and  expects  to  be  overcharged,  and 
the  boutiquier  resents  that  attitude,  but  is  too  polite  to 
allow  his  customer's  expectations  to  be  disappointed. 

No,  the  time  from  April  to  November  is  an  unfor- 
tunate one  in  which  to  make  the  acquaintance  of  the 
little  shops.  Unlike  the  pretentious  establishments  of 
the  Place  Vendome  and  the  Boulevard  Haussmann, 
where  business  is  conducted  in  expensive  but  unvarying 


Almost  every  block  in  Paris  has  at  least  one  antique  shop,  and  in 
them  you  can  buy  anything  from  a  cuneiform  brick  to  yesterday's 
newspaper.  Often  the  most  interesting  of  these  shops  are  the  little, 
dusty    places,   tucked    away    in    odd    corners    of    the    narrow    streets 


fashion,  they  are  very  temperamental,  changing  their 
whole  character  with  the  fluctuations  in  the  Parisian  pop- 
ulation. 

Near  St.  Sulpice  is  an  overcrowded  shop  whose  pro- 
prietress enjoys  an  international  reputation  for  her 
knowledge  of  carved  stones.  Thru  the  two  grimy  win- 
dows that  face  the  street  you  see  a  jumble  of  treasures 
of  the  ancient  world — flashes  of  rich  reds  and  gold,  of 
deep  blues,  tarnished  silver,  and  coppery  greens,  from  a 
thousand, things  that  once  helped  beautify  Thebes  and 
Babylon,  Athens  and  Rome,  Byzantium  and  medieval 
Paris.  They  are  windows  into  which  you  peer,  with 
constantly  increasing  interest,  until  at  last  you  -  see  the 
thing  that  you  never  knew  you  wanted,  but  without 
which  life  would  henceforth  be  incomplete. 

You  push  open  the  door  with  the  tinkling  bell,  and 
leave  Paris  and  the  twentieth  century  behind.  The  bell 
tinkles  again  as  the  door  shuts  and  madame  emerges 
{Continued  on  page  72) 


Page  Twenty-Seven 


A  Painter 
on  Silk 


Reproductions  of  the  work  of 
Charles  Fiilop,  the  Magyar  ar- 
tist with  an  uncanny  color  sense 

Photographs  by  Nickolas  Muray 


THE  DANCERS' 


The  music  has  ended  with 
a  crashing  of  cymbals  and 
a  throbbing  of  viols:  the 
seven  dancers,  costumed  in 
barbaric  reds  and  purples 
and  bronze-greens,  await  the 
drawing    of    the    curtain 


Here,  orchestral  blacks,  limpid 
greys,  and  brilliant  oranges 
merge  into  a  magnificent  har- 
mony. The  young  violinist  sym- 
bolizes Art,  defying  Evil  and 
triumphing  over  the  unsym- 
pathetic   forces     of    the    Earth 


ELEVATION 


AUTUMN" 


There  is  a  depth  of  melancholy  in 
this  portrayal  of  the  dying  year 
that  few  painters  on  canvas  have 
been  able  to  suggest.  The  back- 
ground pictures  somber  trees  scat- 
tering their  leaves  about  the  un- 
happy figures  crossing  the  bridge 
into   the   desolate   land   of    Winter 


Page  Twenty-Eight 


Diane 

of  the 

Dance 


"Mtotos  hy  Joseph  A.  Stone,  Xew  Haven.  Conn. 


Who  would  suspect 
this  gentle  lady  in  the 
bonnet  of  stamping 
magnificently  thru  the 
Storm  Scene  from 
"William,  Tell"  or 
working  up  the  tin- 
kling crescendo  of 
Anitra's  Dance.  And 
when  she  dons  pose, 
poise  and  pearls,  what 
a  distinctly  Oriental 
air  she  achieves;  Pav- 
Iowa  and  Lubovska 
have  both  praised 
Dian  Montford's  work 


Page  Tzventy-IVmr 


The  Harkness 
Memorial  at 
Yale  University 


The  tower,  which  is  the  true  Harkner.s 
memorial,  is  the  only  example  of  the 
"double-crown"  tower  in  America.  It  has 
English  chimes  made  by  Loughbridge,.  con- 
sisting of  ten  bells  whose  first  three  notes 
are  the  lowest  in  the  country.  On  each  of 
the  four  sides  of  the  tower  are  statues  of 
Yale's  most  distinguished  alumni  and  one 
of  the  founder  of  the  college,  Elihu  Yale. 
The  tower  and  the  dormitories  on  the 
famous  quadrangle  were  given  by  Mrs. 
Steven  V.  Harkness  in  memory  of  her  son, 
George  William  Harkness,  of  the  class  of 
'83,  who  died  in  1916.  The  corner  stone  of 
the  tower  was  laid  in  1917.  James  Gamble 
Rogers   was   the  architect 


One  of  the  many 
quaint  doorways, 
most  of  them  me- 
morials, leading  in- 
to one  of  the  six 
courts  around 
which  the  dorml 
tories  are  built. 
This  doorway  is  an 
example  of  a  pure 
Gothic  arch.  The 
warm  tones  of  the 
Plymouth  granite 
with  inserts  of 
weather-beaten 
brick  are  inde- 
scribably    lovely 


A  Gothic  vestibule  from  which  lead 
the  curving  stairs  to  the  students' 
quarters.  In  building  these  quarters, 
Mr.  Rogers  paid  no  attention  to  tradi- 
tional, institutional  architecture,  but 
considered  the  comfort  of  the  stu- 
dents  and   the   charm    of    irregularity 


Page  Thirty 


Photo  by  Evans  Studio,  L.  A. 


MISS  VEE  WOLF  OF  HOLLYWOOD 

A  charming  entrant  in  the  Beauty  Contest 


Page  Thirty-One 


Respecting  the 
American  Theater 

Our  Theater  Would  Move  a  Great  Deal  Faster  if 

Managers,  Critics,  Actors  and  Playwrights  Could 

Begin  to  Believe  in  its  Dignity  and  Power 

By  Kenneth  Macgowan 


Photo  by  Standiford  Studio 


I 


Above,  Jean  Brown  in  "Sally,  Irene  and  Mary"; 
at  the  right,  Ruth  Chatterton  in  "La  Tendresse" ; 
and  below,  Harry  Beresford  in  "The  Old  Soak" 


SUPPOSE  there 
is    nothing    in. 


America  that  we 
generally  respect — ex- 
cept success  and  fab- 
ulous abstractions  like 
Democracy,  Progress, 
and  the  President.  I 
know  that  we  dont 
respect  the  theater. 

We  feel  many  emo- 
tions for  it,  strong, 
vivid,  compelling  emo- 
tions, but  never  re- 
spect. Some  playgo- 
ers love  the  theater 
with  the  devotion  of 
a  movie  mother  for 
her  reformatory  son. 
There  are  managers 
who  feel  for  it  the 
passion  of  the  tiger 
for  the  river  buffalo. 
It  lures  many  a  play- 
wright with  a  fascin- 
ation roulette  cannot 
boast.      Actors   em- 

Photo  by  Abbe 
Page  Thirty-Two 


Photo  by  Hoover,  L.  A. 

brace  the  stage  with  the  avidity 
of  the  Reverend  Mr.  Straton 
for  newspaper  print.  As  for 
critics,  you  can  imagine  the 
value  they  set  upon  this  escape 
from  their  inferiority  complexes. 
You  may  say  that  this  is 
quite  as  it  should  be — this  lack 
of  respect — and  ask  me  to 
show  you  anything  in  the 
American,  theater  that  deserves 
more  than  the  devotion  of  the 
self-seeker.  If  I  tell  you  to 
look  back  to  the  Greeks  or  over 
the  chasm  of  the  war  to  the 
Germans,  you  will  be  bored  or 
patriotic.  So  I  may  as  well 
content  myself  with  observing 
that  all  these  petty  egoisms  will 
ultimately  get  our  theater  for- 
ward to  the  place  where  it  will 
deserve  the  respect  that  the 
German  theater  now  enjoys; 
but  that  it  would  move  a  great 
deal  faster  if  our  managers 
and  our  critics,  our  actors  and 
our  playwrights  could  begin  to 
believe  in  its  dignity  and  its 
power. 


SuADOWLAND 


Especially  our  playwrights.  Here  is  the  flagrant  case 
of  the  latest  of  them,  Don  Marquis.  He  is  a  wag  and 
a  humanist,  a  scholar  and  a  gentleman.  He  has  created 
a  jolly  and  touching  figure  in  Clem  Hawley,  the  old 
soak.  Those  who  know  Marquis'  little  book  or  Mar- 
quis' big  column  know  that.  It  is  only  once  or  twice  a 
year  that  so  much  of  the  pungency  of  American  life 
gets  into  our  literature.  What  joy  therefore  awaits 
the  playgoer  who  has  tickets  for  "The  Old  Soak." 

Well,  exactly  what  joy?  Old  Clem,  of  course,  that 
"mammal  of  iniquity,"  with  his  warning  to  beware 
of  "wine  and  beer  and  them  soft  drinks"  and  stick  to 
good  hard  liquor.  Also  such  a  speech  as  only  Mark 
Twain  could  have  written : 

"If  I  had  my  way  about  it,  I  wouldn't  be  a  human 
a-tall !  A  human  bein'  has  got  too  hard  a  time  of  it. 
losin'  jobs  an'  owin'  debts  an'  gettin'  preached  at.  I'd 
rather  be  an  insect,  or  somethin'  .  .  .  like  one  of  those 
pesky  little  yaller  varmint  butterflies  that  goes  a-flit- 
terin'  an'  a-flutterin'  around  the  raspberry  bushes  an' 
the  apple-trees  .  .  .  with  nothin'  to  think  of  but  get- 
tin' filled  up  with  juices  an'  joys." 

Also,  the  hired  girl,  Nellie,  talking  just  as  char- 
acteristically of  her  parrot  and  how  it  "deceased  itself" 
trying  out  the  hootch  for  Nellie  and  Clem  and  Al,  the 
ex-barkeep  who  made  it. 

My  complaint  is  not  against  the  man  who  wrote 
all  this  about  a  particular  corner  of  life.  My  com- 
plaint is  against  the  man  who  wrote  it  for  the  theater. 
It  is  the  same  complaint  I  had  against  Booth  Tarking- 
ton  until  he  wrote  "Clarence."  Marquis,  like  Tark- 
ington,  appears  to  have  approached  the  theater  as  if  it 
was  really  the  home  for  morons  that  it  sometimes 
seems.     He  said : 

"Oh,  yes,  I've  got  to  have  a  plot,  haven't  I?  And 
the  plots  they  like  on  the  stage  are  the  kind  I  used  to 
»ee  at   the  old   Fourteenth    Street   Theater.     They're 

Photo  by  Strauss- Peyton 


Photo  by  Nickolas  Muray 


Above,  Frances  Starr  in  "Shore  Leave";  at  the 
left,   Jane   Cowl   in   "Malvaloca" 

always  doing  those  over  and  over  again.  That  . 
the  theater  of  it." 

So  the  result  is  that  "The  Old  Soak"  is  a  mix- 
ture of  pungent  observation  and  the  son  who  is 
short  in  his  accounts,  of  true  comedy  and  the 
sanctimonious  banker  who  eggs  the  boy  on  to 
gamble  with  his  mother's  little  fortune,  a  mixture, 
in  fact,  of  life  and  the  ten-twent'-thirt'. 

Is  the  success  of  "The  Old  Soak"  a  testimonial 
to  Marquis'  good  judgment  as  a  contemner  of  the 
theater?  Then  "Personality,"  "Paddy,  the  Next 
Best  Thing,"  and  "Oh,  Henry"  should  be  running 
yet.  Or  does  its  success  testify  rather  to  the  readi- 
ness of  the  public  to  overlook  crass  and  long-fa- 
miliar melodrama  if  it  is  accompanied  by  such 
humor  as  Marquis'  and  such  acting  as  Harry 
Beres  ford's? 

Between  the  attitude  of  respectable  literary  men 
like  Marquis  and  that  of  the  low-down  vaudevil- 
lian,  I  choose  the  varietist  when  the  varietist  is 
George  Kelly  author  of  "The  Torch  Bearer." 
This  skit-writer,  who  is  also  a  brother  of  Walter 
C.  Kelly,  the  "Virginia  Judge,"  has  something 
very  like  respect  for  the  theater.  At  any  rate,  he 
gives  it  as  much  credit  as  vaudeville  for  prefer- 
ring wit  to  heavy-handed  plots.  He  has  accord- 
ingly produced  two  perfectly  good  acts  of  comic 
observation,  satire  and  burlesque  on  the  subject  of 
the  little  theater  movement,  and  he  has  done  it 
without  providing  anything  closer  to  "action"  than 
{Continued  on  page  66) 


Page  Thirty-Three 


The  Warlike 

Dance  of  an 

Oriental 


Special  Photographs 
by  Hori 


With  his  javelin  poised  and  his  shield 
in  position  the  warrior  is  ready  either 
to  fling  himself  into  battle  or  whirl 
himself  into  the  mad  dance  that  ex- 
presses conflict.  He  typifies  strength, 
which  is  deceptively  veiled  in  grace 


Page  Thirty-Four 


Our  Lyrical  Psycho-Realist 

Conrad  Aiken,  the  Schubert  of  Poetry  who  Fiddles  in  the  Laboratories  of 

Viennese  Psychologists 

B;y   Babette  Deutsch 


CONRAD  AIKEN  is  one  of  those  disturbing  phe- 
nomena among  poets,  the  man  who  does  not 
belong  to  a  school.  When,  one  considers  poets  of 
such  marked  individuality  as  Frost  or  Amy  Lowell  or  Sara 
Teasdale  there  is,  usually,  the  possibility  of  classifying 
them.  Frost,  one  may  say,  belongs  to  the  realists,  Amy 
Lowell  is  the  self-appointed  leader  of  the  imagists,  Sara 
Teasdale  is  first  among 
the  pure  lyricists.  But 
Aiken  is  the  round  peg 
in  the  square  hole :  he 
will  not  fit,  he  is  too 
smooth,  too  much  given 
to  turning  and  slipping; 
there  is  no  keeping  him 
where  one  might  hope 
to  find  him  again.  This 
is  not  meant  to  place 
Aiken  on  a  pinnacle  of 
unique  worth,  above  the 
run  of  common  poets. 
For  all  his  sacred  soli- 
tude, his  music,  and  his 
scope,  he  does  not  rank 
with  Robinson,  he  is  not 
greater  than  Amy  Lo- 
well. His  peculiarity  is 
to  be  always  so  closely 
approaching  his  various 
colleagues  in  manner  and 
method  that  he  cannot  be 
classed  with  any  special 
group  as  one  of  its 
spokesmen.  Yet  he  frees 
himself  from  the  charge 
of  eclecticism  in  one  im- 
portant respect.  He  is, 
if  not  the  first  poet  to 
use  modern  psychology 
for  his  running-board, 
certainly  the  poet  who 
does  so  with  the  greatest 
consistency   and    agility. 

In  one  of  his  best 
books,  which  is,  curious- 
ly enough,  a  collection 
of  critical  papers  called 
"Skepticisms,"  he  reveals 
this  bias  toward  psychol- 
ogy almost  as  strongly  as  in  any  of  his  volumes  of  poetry. 
He  admits,  frankly  enough,  that  this  study  of  other  poets 
represents  his  "own  particular  attempt  to  urge  the  poetic 
currents  of  the  day  in  a  direction  that  might  be  favorable 
to  me."  And  if  one  reads  it  with  an  eye  to  these  urgings 
one  may  be  rewarded  by  discovering  what  poetic  currents 
form,  in  the  last  analysis,  his  chosen  swimming-hole. 
These  are,  broadly  speaking,  a  certain  formalism  in 
method,  and  what  he  himself  calls  "psycho-realism"  in 
subject  matter. 

At  the  first  approach  to  his  poetry  these  tendencies 
are  not  so  well  defined.     His  earliest  book,  "Earth  Tri- 


umphant," which  appeared  in  1914,  was  prefaced  by  a 
kind  of  defiant  apology  for  its  likeness  to  Masefield's 
work  in  his  long  narrative  pieces.  Aiken's  second  book 
began  with  a  jazzed-up  version  of  the  "Spoon  River 
Anthology"  in  the  form  of  a  series  of  sketches  of  vaude- 
ville artists.  "The  Charnel  Rose,"  published  several 
years  later,  after  the  appearance  of  two  further  volumes, 

was  rich  in  the  shrewd 
charm,  the  disarming 
penetration  of  T.  S. 
Eliot,  tho  Aiken  himself 
would  only  acknowledge 
his  debt  to  a  more  dis- 
tant influence,  their  com- 
mon master :  Jules  La- 
forgue. 

Yet  if  Aiken's  early 
work  is  markedly  imita- 
tive, looking  back  on  it 
from  the  vantage  point 
of  his  later  accomplish- 
ment, and  with  "Skepti- 
cisms" in  mind,  it  does 
betray  a  search,  a  grop- 
ing trend.  Thruout  there 
is  the  dominating  curi- 
osity about  form,  a  curi- 
osity that  impelled  the 
young  student  to  shape 
his  style  always  upon  the 
style  of  some  greater  or 
lesser  master.  Thruout 
is  the  preoccupation  with 
narrative,  the  unwilling- 
ness to  affect  the  con- 
cision and  simplicity  of 
the  lyric.  Thruout,  the 
narrative  is  complicated 
by  the  desire  to  probe 
into  the  psyche  of  his 
characters,  to  lay  bare 
the  secret  dream,  the  un- 
fulfilled desire,  the  hid- 
den fear. 

"Earth  Triumphant" 
is  chiefly  remarkable  for 
certain  passages  which 
Conrad  Aiken  might  well 
have  framed  as  epitome 
of  his  own  work.    All  of  his  poetry  reiterates  this : 

Thru  brightest  noon  a  darkness  runs. 
Night  whelms  dozvn  the  hug  est  suns. 

The  following  couplet  from  the  volume  is  almost  a  sum- 
mary of  Aiken's  performance  in  "The  Charnel  Rose" 
and  "The  House  of  Dust" : 

Under    twilight   seas   he   goes. 

He  zveaves,  fantastic,  skull  and  rose. 

For  the  rest,  the  book  is  often  tawdry,  sometimes  dull, 

but   usually^  musical.      It   has   in  it  youth's  passion   for 

strange     crimes     and     subtle     lusts,      for     the     brutal 

(Continued  on  page  67) 


Photo  by  E.  Brunei,  Boston 

CONRAD  AIKEN 
His    chosen    themes    afford    him    a    rare 
scope,    an    almost    unexplored    territory 


Page  Thirty-Five 


Franz  Molnar 


Sketches  by 


Franz  Molnar,  the  Hungarian  dramatist,  has  ten 
plays  to  his  credit.  Of  these,  three  have  appeared 
on  Broadway — "Liliom,"  "The  Devil,"  and  "The 
Love  Letter."  Two  others  will  be  seen  this  sea- 
son— "The  Swan,"  to  be  produced  by  Gilbert 
Miller,  with  English  stars  in  the  leading  roles,  and 
"Men's  Fashions,"  a  typically  Molnaresque  comedy 


Franz  Molnar  who,  aided  by  his 
translator,  Joseph  Szebenyei,  has 
charmed  us  with  his  characteriza- 
tions   of   the   people   of  Budapest 


Here  is  Liliom,  the 
lovable,  rowdyish 
barker  for  the  merry- 
go-round.  He  flirts 
with  the  servant-girls 
as  they  whirl  around 
him,  and  gives  them 
a  kiss  or  a  slap  as  he 
helps    them    dismount 


The  Budapest  stenog- 
rapher is  one  of  Molnars 
favorite  types.  She  is  al- 
tvays  a  most  sophisticated 
Miss,  looking  wide-eyed 
for  a  millionaire  husband, 
but  glancing  occasionally 
toward  some  humble  clerk 
who  would  make  a  satis- 
factory   "second    choice" 


This  sagacious  street  porter  is  the 
"Postilion  d'amour" — the  carrier 
of  nosegays  and  billet-doux  for  the 
lovers  of  his  district.  No  matter 
how  difficult  your  commission, 
you  may  trust  him  to  execute  it 
promptly  and  discreetly.  Given 
the  right  inducement,  he  afterward 
forgets    the    nature    of    the    errand 


^SSbJBpt, 


Page  Thirty-Six 


and  His  Types 


Leo  Kober 


Molnar's  genius  is  not  Magyar  either  in  spirit  or 
sentiment.  He  was  reared  in  Budapest,  that 
colorful  city  of  bohemianism,  extravagance  and 
misery.  No  writer  portrays  her  soul  and  her 
people  so  well  as  he.  His  characters  may  seem 
over-grotesque  and  unconventional,  but  they 
are  not  exaggerated.  Nor  does  Molnar  make 
fun    of   his    people — he    loves    them    too    deeply 


7** 


In  the  wealthy  districts  and  in  the  aristo- 
cratic cafes  and  theaters  you  see  numberless 
ill-matched  couples.  Youth  finds  attractions  in 
age  when  wealth  and  power  are  its  attributes 


When  the  servant-girl  promenades 
with  her  suitor,  she  is  expected,  in  re- 
turn for  the  honor  of  his  company, 
to  pay  all  bills  incurred.  Marin  has 
a  Sergeant  for  a  sweetheart,  and  so 
considers  herself  far  above  all  the 
other  girls  in  the  city  park.  As 
they  stroll  along,  he  tells  her  of  the 
brutality  of  his  Lieutenant,  and  she 
tells   him   of   the   sneers   of  the   cook 


■  v- .     :"^il 


x 


£^  I? 


Here  is  the  sleek  lawyer  who  hangs 
around  the  courts  ready  to  represent 
both  defendant  and  plaintiff.  He 
defends  the  burglar,  wins  his  dis- 
missal, then  urges  him  to  hurry 
and  pull  off  another  job  to  pay  his 
fee.  Some  day  a  burglar  with  a  sense 
of  humor  will  obey  that  command 
by    cracking    the    safe    of    the    lawyer 


Father  Hyacinth  who  ap- 
pears in  "The  Swan"  is 
one  of  Molnar's  greatest 
character  studies.  Tho  of 
the  House  of  Hapsburg, 
he  prefers  the  life  of  a 
priest  to  that  of  a  prince 


/ 


>-£g<K|£ 


Page  Thirty-Seven 


Sculpture 

and  the 

Dance 


Courtesy  of  Milch  Galleries 


Photo  by  Nickolas  Muray 


THE  DANCERS 
These  figures  express  action  in  every  line, 
and  it  seems  as  if  at  any  moment  they  might 
start    again    on   their    wild   whirling   dance. 
It     is     the     work     of     Harriet     Fr'shmuth 


PAVLOWA 
All  the  ex- 
quisite grace 
and  charm 
of  motion 
that  is  indis- 
putedly  Pav- 
loiva's  have 
been  caught 
by  Alf  Lenz 
in  his  fairy- 
like    bronze 


Courtesy  of  Scott  and  Fowles 


Photo  by  De  Witt  Ward 


ATLANTA 
Paul   Manship's    smoothly   flowing 
lines  symbolize,  in  this  bronze,  the 
momentary  rest  of  effortless  motion 


Courtesy  of  Metropolitan  Museum  of  Art 
Page  Thirty-Eight 


SLiADOWLAND 


America.  This  is  the  home  of  the  "Writers 
Guild."  If  Los  Angeles  could  be  said  to  have 
a  Greenwich  Village  it  would  be  this.  It  is 
the  only  gathering  place  of  the  literati.  But  it 
differs  from  the  New  York  Greenwich  Village 
in  this :  it  opens  its  doors  only  to  men  and 
women  of  established  success. 

It  is  beautiful — originally  a  private  home, 
with  wide  porches  and  green  lawns  and  cool, 
deep  rooms  decorated  by  Penrhyn  Stanlaws. 
At  luncheon  there  you  will  find  nearly  all  the 
"big  leaguers"  of  the  literary  colony — except 
three.  Strange  to  say,  you  seldom  find  the 
three  immortals  who  seem  to  stand  at  the  top 
of  the  heap  just  now — Montague  Glass,  Rupert 
Hughes  and  Theodore  Dreiser. 

Montague  Glass  has  a  charming  home  be- 
tween Los  Angeles  and  Pasadena.  He  is  a 
very  prolific  writer  and  has  made  a  large  for- 
tune out  of  Potash  and  Perlmutter.  He  says 
that  he  has  been  writing  much  longer  than  most 
people  think — about  twenty-seven  years.  He 
began  as  a  lawyer's  clerk  in  New  York.  Potash 
and  Perlmutter  were  clients  of  the  firm  for 
which  he  worked.  They  used  to  come  in,  quar- 
reling and  calling  each  other  names — but  they 
always  went  out  arm  in  arm.  Their  names  were 
not  Potash  and  Perlmutter.  Mr.  Glass  says 
he  got  those  names  from  signs  on  the  Bowery. 
Years  before  he  thought  of  putting  them  into 
stories,  he  used  to  write  hack  articles  for  the 
cheaper  magazines ;  usually  he  got  his  inspira- 
tion and  material  from  court  decisions.  When 
a  man  sued  a  restaurant  for  finding  a  button  in 
his  soup,  Mr.  Glass  would  rush  down  to  the 
magazines  with  an  article  about  "The  Risks 
of  Eating  in  Cafes."  The  literary  folk  in 
Hollywood  estimate  that  "Monte"  must  be 
getting  the  most  money  of  any  living  writer. 

Rupert  Hughes  is  said  to  receive  the  highest 
rate  of  any  writer  whose  stories  appear  in  the 
magazines.  He  is  a  terrific  worker.  He  and 
Mrs.  Hughes  have  a  palatial  home,  and  their 
invitations  are  most  sought  for.  In  addition  to 
keeping  up  the  social  end,  Major  Hughes  writes 
scenarios  for  Goldwyn  and  directs  the  pictures 


There  are  a  few  famous  authors  who  scorn  scenario  writing, 

but    Rupert   Hughes   always   stands   up  for   it — and   holds  his 

pencil   in  the   approved   Spencerian    manner 

"Say  it  with  smiles  if  you  cant  say  it  in  Chinese,"  declares 
Gouverneur  Morris,  giving  his  arm  to  Miss  Winter  Blossom 
who  has  the  leading  role  in  his  fantasy,  "Whims  of  the  Gods" 


himself.  The  other  night,  the  Hughes'  gave  a 
grand  soiree  which  adjourned  about  four  a.  m. 
When  the  tired  servants  came  into  the  major's 
den  the  next  morning,  they  found  his  desk 
littered  with  a  night's  writing.  After  the 
guests  had  departed,  he  sat  up — with  a  new 
novel.  He  is  one  of  those  singular  individuals, 
like  Edison,  who  can  get  along  with  four  hours 
sleep.  His  output  is  simply  terrific.  Not  only 
does  he  drive  along,  with  a  scenario,  a  short 
story  and  a  novel,  all  at  once,  but  he  finds  time 
to  engage  in  controversies  with  local  news- 
papers. He  does  not  even  disdain  turning  him- 
self into  old  Pro  Bono  Publico.  Any  news- 
paper editor  in  Los  Angeles  is  likely  to  find  any 
day  a  burning,  witty,  scathing  communication 
on  his  desk,  fairly  squirming  to  get  out  of  the 
envelope — two  or  three  pages  of  two-dollar-a- 
word  stuff.  He  usually  signs  these  with  some 
euphonious  or  peculiar  name  like  Smith  and 
hands  them  out  for  nothing — just  to  occupy 
his  spare  time. 

(Continued  on  page  76) 


Page  Forty-One 


Posed  by  Jane  Novak 


Photo  by  W.  F.  Secly,  L.  A. 


AUTUMN 

Wild  is  the  Music  of  Autumnal  Winds 
Amongst  the  faded  woods. 

— Wordsworth 


Page  Forty-Two 


Decorative  Wall  Panels 


All  Photos 

by  G.  W. 

Harting 


Courtesy  ot  the 

Wanamaker 

Gallery  of 

Decorative  Art 


BAIGNEUSE 

Gardner  Hale 
Mr.    Hale    now   spends    most   of   his 
time   in   Paris.     Before   he   left   New 
York,   he    made    this    overmantel   for 
his    charming    Barrow    Street    house 


A  mural  for  Mr. 
Grant  Kingore 
at  Carlton 
House.  As  usual 
Mr.  Chanter 
has     given     his 


WONDERLAND  SEA 
Robert  Chanler 


THE  FISHERMAN 
Gardner  Hale 
This  plaster  decorative  panel  in  the  Italian 
manner  shows  a  different  phase  of  Gardner 
Hale's  work.    It  is  strong,  but  has  a  rhythm 
that    keeps    it    from     being     overpowering 


imagination  full 
rein,  and  this 
delightful  fan- 
tasy of  an  Alice 
in  Wonderland 
sea  is  the  result 


Page  Forty-Three 


Masse-Mensch,  to  be  produced  by  the  New  York  Theatre  Guild  as  it  was  in  Berlin.  A  woman 
in  a  dream-prison  of  twisted  scarlet  bars.  Behind  her,  gigantic  spectral  shadows  march 
across  the  luminous  void — an  effect  produced  by  light  playing  upon  the   plaster   sky-dome 

Painting  Scenery  with  Light 

Light  as  a  stimulant  of  the  Imagination;  light  as  a  motivator  of  action;  light  as  a  part  of  the  play  itself 
are  only  three  of  the  new  uses  to  which  light  is  being  put  in  the  theater 

By  Kenneth  Macgowan 

With  Sketches  by  Robert  Edmond  Jones 


IN  the  'eighties  and  'nineties  when  electricity  came  in- 
to the  theater  to  take  the  place  of  gas,  light  was 
only  illumination.  By  the  first  decade  of  the  twen- 
tieth it  had  become  atmosphere.  Today  it  is  taking  the 
place  of  setting  in  many  Continental  theaters.  Tomor- 
row it  may  be  part  of  the  drama  itself. 

The  most  interesting  and  significant  departures  in  the 
use  of  light  on  the  Continental  stage  have  to  do  with 
the  plaster  dome  or  the  canvas  cyclorama  which  replaces 
the  old  backdrops  in  the  sixty  or  more  German  theaters. 
It  began  as  an  imitation  of  the  sky,  an  attempt  to  put  one 
more  piece  of  Realism  into  the  theater.  It  has  got  to  the 
point  now  where  its  interesting  and  important  uses  have 
nothing  whatever  to  do  with  realistic  fake-heavens.  It 
is  being  employed  as  a  formal  element  in  a  stage  design, 
or  else  as  a  surface  on  which  to  paint  scenery  with  light. 

Perhaps  it  was  economy,  perhaps  a  flash  of  genius ;  at 
any  rate,  it  occurred  to  the  Germans  that  there  was  no 
particular  necessity  of  lighting  the  dome  or  cyclorama.  In 
these  huge  stages  it  stands  at  least  sixty  or  seventy  feet 
back  of  the  footlights.  It  is  possible,  therefore,  to  make 
it  a  dim  emptiness  by  merely  turning  off  the  lights  that 


ordinardy  shine  upon  it,  or  to  give  it  some  vague  neutral 
quality  from  the  light  of  the  stage  which  is  reflected  on 
its  surface.  In  Othello  at  the  State  Schauspielhaus  in 
Berlin,  Jessner  uses  his  cyclorama,  an  ordinary  canvas 
one,  as  a  formal  background  bounding  the  space  in  which 
his  strictly  conventionalized  indications  of  settings  are 
placed.  Thus  it  is  in  some  scenes  a  pale  neutral  wall,  in 
some  a  curious  violent  emptiness,  in  others  a  faintly 
salmon  background,  in  still  another  a  yellow  light  against 
which  figures  move  in  tiny  silhouettes.  At  the  Volks- 
biihne  in  Masse-Mensch  the  dome  becomes  a  misty  void 
in  one  of  the  dream  scenes ;  and  then  upon  this  void 
move  vast,  mysterious  shadows  of  dead  men  in  an  end- 
less circling  procession. 

Shadows  on  the  dome  carry  us  to  a  final  development 
of  lighting  in  Germany — the  projection  of  scenery,  the 
substitution  of  light  for  paint  as  a  means  of  expression. 
Many  minds  have  worked  and  are  working  on  devices  to 
be  used  for  this  purpose,  but  the  most  important  mechan- 
isms find  their  home  in  Dresden  at  the  State  Schauspiel- 
haus and  the  State  Opera. 

The  artistic   director   of  the    Schauspielhaus,   Adolph 


Page  Forty-Four 


SuiADOWLAND 


Linnebach  has  a 
dome  to  work 
with,  and  upon 
this  dome  or  thru 
varnished  silk 
from  the  back, 
lie  throws,  by 
means  of  a  very- 
simple  lantern 
containing  an  arc 
light  but  no  lens, 
designs  painted 
on  glass.  This 
lantern  and  the 
transparent 
method  of  pro- 
jection were  used 
in  America  with 
much  success  by 
Lee  Simonson 
when  the  New 
York  Theatre 
Guild  mounted 
Shaw's  Back  to 
Methusalah  last 
spring.  Linnebach 
has  made  the 
mountains  of 
Willi  elm  Tell 
with  projection, 
and  the  settings 
of  Gr  abbe  's 
Kaiser  Hcinrich 
VI,    and    of    the 

expressionistic  dramas  Das  Bist  Du,  Gas  and  Jcnseits. 
The  simplest  method  of  projection  used  by  Max  Hasait 
at  the  Dresden  Opera  brings  you  up  sharp  against  the 
true  origins  of  the  thing,  and  they  are  almost  as  old  as 
drama.  The  puppeteers  of  old  Java  had  shadow-marion- 
ettes centuries  before  the  technical  director  of  the  Dres- 
den  State  Opera  made   shadow-settings.      For  Weber's 


Valhalla,  the  home  of  the  gods,  in  a  production  of  "Das  Rheingold"  by  Linnebach. 
in  Munich.    The  castle  becomes  slowly  visible  in  the  sky,  built  of  beams  of  light 


Oberon  and  for  Mozart's  Zauberflote,  Hasait  provides  a 
plastic  arrangement  of  inner  proscenium  and  steps,  with 
a  translucent  curtain  at  the  back.  From  one  side  of  the 
curtain  he  projects  a  design  in  shadows  by  means  of  a 
frame  hardly  two  feet  wide,  across  which  are  fastened 
various  thicknesses  of  gauze.  The  light  that  comes  thni 
the  clearer  portions  of  the  gauze  is  one  color,  while  with 

a  light  on  the 
other  side  of  the 
translucent  cur- 
tain, he  stains  the 
shadows  a  second 
color.  The  hue 
of  both  these 
lights  can  be 
changed  quickly 
or  slowly  as  de- 
sired, producing 
harmonies  and 
contrasts  of  color. 
The  other  de- 
vices used  by 
Hasait  for  pro- 
jection are  em- 
bodied in  a 
scheme  of  stage 
{Continued  on 
page  69) 


Richard  III,  as  pro- 
duced by  Germany's 
most  radical  director, 
Jessner  of  the  State 
Theater  in  Berlin. 
Across  blood-red 
steps  moves  the 
army  of  Richmond  in 
white,  or  of  Richard 
in  crimson,  to  sym- 
bolize  the    battle 


Page  Forty-Five 


pecial  Study  by  Maurice  Goldberg 


HELEN  MENKEN 

A  spiritual  photograph  of  that  talented  young  actress  who  drifted  into 
"Drifting"  and  remained  with  such  grace  last  year.  This  year  she  is 
Diane  Bulmir  in  a  new  play,  by  Austin  Strong,  ^The  Seventh  Heaven" 


Page  Forty-Six 


Three 

Continental 

Graces 

Photographs  by  L'Ora,  Vienna 


They  say  thai 
even  Paris 
ventured  to 
wonder  how 
Mme.  Diamant 
got  into  this 
gown.  As  for 
the  rest — well 
— we  under- 
stand why  Pa- 
risian  revues 
are   popular 


From  Anita  Berber's  carefree 
expression  who  would  suspect 
that  her  gown  is  merely  pinned. 
Every  night  M.  Czeltel,  the  Hun- 
garian artist,  pins  a  new  crea- 
tion on  this  graceful  dancer. 
We    hope    he    uses    safety-pins 


The  coat  collar, 
which  Zerline  Bal- 
ten,  so  charmingly, 
brings  to  one's  at- 
tention, is  very 
nice — but — it  fails 
to  distract  one 
from  her  exquisite- 
ly small  feet  that 
dance  so  lightly  in 
foreign  revues.  Zer- 
line also  sings 


Page  Forty-Seven 


^m 


Scene  :  Between  the  Gates  of  Hell  and  the   Throne  of 

Lucifer. 
Freud  ignores  Hell  and  laughs  at  Purgatory. 
Where,  naturally,  begins  Bacchantian  story. 


Villains: 


Enter  Con- 
scious Wit, 
Comic  Sup- 
plement and 
Caricature. 


Enter 

Lucifer  and 
Affinities. 

Liberty,  un- 
der another 
name:  Miss 
America. 


Comedy  and 
Tragedy. 


Enter 
Chorus  of 
Desires: 


Inhibitions: 


Prohibitions: 


Wit  comes — with  Comic  Supplement  tonight 
And  Caricature  down  spiral  steps  of  light. 
They  cling  to  Wit  but  he  sees  Censorship 
And  gives  his  two  affinities  the  slip. 
Together  on  the  spiral  steps  they  pause 
Awaiting  Lucifer:  amid  applause 
He  comes  with  that  old  maid,  Nai  Eve,  whose 

face 
Shines  near  him  now,  beside  unnatural  Grace. 

Lucifer  summons  Liberty  who  comes 
Under  another  name :  she  twirls  her  thumbs 
As  Miss  America,  behold  her  now 
With  iron  spikes  around  her  noble  brow. 
Bearing  her  crimson  train,  comes  Comedy 
And  in  her  wake,  with  mask,  is  Tragedy. 
Approaching  Lucifer,  they  set  their  jaws, 
While  from  the  Gates  of  Hell  break  more 
outlaws. 


Invitation 
To  Sit. 


Banquet  Is 
Suggested: 


Suppressed  Desires,  ambidextrous  Passion 
Whose    hands    are    working    in    industrious 

fashion ; 
Then  the  drawn  figure  of  Paternity 
Beside  his  mate,  the  stout  Maternity, 
With  them  their  young  Libidos,  one  female 
The  other  male — 

united    in    this         ^____^^^ 

tale. 


Then  comes  six 
inhibitions,  once 
confined, 

But  broken  from 
restraint  to  face 
mankind : 

Ambition  and 
Obscenity,  In- 
version, 

Self  -  Indulgence, 
Ignorance,  Per- 
version. 

Behind  them,  in 
reserve,  come 
Prohibitions, 

Fat  Drunkenness 
and  evil  Ex- 
hibitions, 

Esthetic  Free- 
dom, Dreams 
of  Wetter 
Days, 

Free  Speech  and 
then  Emotion- 
al Displays. 


The  crimson  brothers,  Jealousy  and  Crime, 
Drag    in    black    Torture    and    World    War 

sublime 
With  Famine  and  with  Gluttony  to  dance 
In  Purgatory  where  they  all  advance. 

Lucifer  bids  his  followers  to  sit 

Upon  his  throne  while  he  approaches  Wit. 

Wit  now  suggests  that  Lucifer  should  set 
A  feast  of  reason — or  a  Freud  Banquet. 
Freud  enters  with  a  magnifying  glass; 
Krafft  Ebing  with  a  telescope  of  brass ; 
Havelock  Ellis  with  a  stone  matrix 
Wherein  the  male  and  female  thoughts  will 

mix ; 
Then  Bernard  Shaw  with  snake  around  his 

chest 
And  Dartvin  with  a  monkey  on  his  breast ; 
Then  Oscar  Wilde  with  lily  and  sunflower 
Followed  by  Comstock  in  a  thoughtless  hour. 

Comstock  bids  Freud  be  seated,  but  no  table 
Appears,  and  the  immortals  are  unable : 
But  Oscar  Wilde  suggests  a  flow  of  soul 
And  conversation  without  sex-control. 

Ellis  advances,  holding  Freud  in  hand : 
It  seems  that  they  must  improvise  a  stand : 
But  how  give  birth  unto  a  thought  so  vast? 

Margaret  Sanger 
must  be  called 
—at  last ! 


Miraculous 
Entrance  of 
Black  Boy 
and  White 
Girl: 


'The   Throne   of  Lucifer" 


The  lady  writer 
enters  with  a 
small 

Washstand  and 
water  pitcher, 
very  tall : 

Stepping  from 
water  pitcher 
into  sight 

Two  natural  chil- 
dren rise,  one 
black,  one 
white. 

Now  stepping 
from  the 
Washstand, 
Boy  and  Girl 

In  innocence  bow 
to  the  forms 
that  swirl 

Around  them  as 
they  leap  into 
the  midst 

Of  their  Com- 
plexes which 
begin   to  twist. 


< 


Page  Forty-Eight 


SUAOOWLAND 


Boy  and  Girl 
Are  Psycho- 
analyzed. 


Child's  Pure 
Pantomime. 


About  t  li  e  m 
circle  all  sup- 
pressed De- 
sires, 

Inhibitions,  Pro- 
hibitions, Liars. 

And  Scandal 
Mongers  who 
are  innocent 

As  Boy  and  Girl 
of  any  wrong 
intent. 

Down    from    the 

Gates    of    Hell 

together  flit 
Policemen  with 

two  little  chairs 

that  fit 
The     Boy     and 

Girl.    They  do 

not  understand 
Why    Freud    ad- 
vances with  his 

glass  in  hand. 

Now    magnifying 

glass     is     fixed 

upon 
Black    Boy    who 

tells     Freud 

everything  he's 

done : 
And     then     upon 

White     G  i  r  I 

who    answers 

him 
Flushing  demure- 
ly— she     is     somewhat 


'Out  of  the  Magic  Cup,  with  scythe  and  fork 
Comes   dancing   Death  .  .  .  .  " 


prim. 


dolls     and     have     no 


Act  III 

{After      t  w  o 
years.) 

The  man  returns 
with  money 
sacks  and  gold 

Bulging  his 
pockets ; 

Then  his  tale  is 
told; 

How  he  has 
worked  and 
prospered  over 
there ; 

How  busy  he  has 
been!  He 
smoothes  her 
hair 

And  calls  her  his 
good  wife. 

She  proves  her 
worth. 

Look !  In  their 
beds.  Twelve 
children ! 

She  gave  birth 

During  his  ab- 
sence —  busily 
indeed 

She  brought  them 
forth ; 

There  are  twelve 
mouths  to  feed. 

He  looks  his  chil- 
dren over  and 
rejoices. 

They  are  but 
noisy     voices. 


Krafft  Ebing  looking  thru  his  telescope 
Behold  boy's  dream  and  girl's  immortal  hope : 
"To   write   a   play!"    That    dream    so    long 

suppressed 
Tonight  in  pantomime  shall  be  expressed. 
"To  go  upon  the  stage!"   That  hope,  to  act, 
Tonight  in  pantomime  becomes  a  fact. 

WORK  AND  PLAY 
Plot 
Act  I 

A  fisherman  and  his  devoted  wife 

Complain  of  hard  times ; 

Then  to  save  her  life 

He  sails  his  boat  across  the  ocean  wild 

Searching  for  wealth ; 

(Not  thinking  of  a  child 

He  says  good-bye). 

Act  II 

The  fishwife  ever  busy  at  her  knitting 
For  two  years  sits,  as  we  behold  her  sitting. 
(Into  her  mind,  besides  the  thought  of  wealth 
Something  is  stealing  up  in  childish  stealth : 
Within  her  mind  a  seed  begins  to  grow 
While  she  sits  knitting,  rocking  to  and  fro.) 


Moral: 


Pass  the 
Censor. 


Boy  and  Girl 
Receive 
Books  of 
Propaganda 
from  the  Im- 
mortal O.  W. 


CURTAIN 

The  moral  is,  be  ever  active  here : 
Have  half  a  dozen  children  every  year. 

APPLAUSE 

This  Censorship  applauds;  then  Comedy 
Approaches  with  a  mouth  turned  up  in  glee : 
She  will  instruct  wise  children  how  to  live. 
And  lessons  in  sex-hygiene  freely  give : 
But  Tragedy  resents  such  forwardness : 
She  will  instruct  her  children  to  express 
Themselves   when  Freud  asks  them    "Have 

you  read  me?" 
Or  when  Krafft  Ebing  asks:  "What  do  you 

see?" 

Now   Oscar   Wilde,  to  pay  them    for   their 

play ; 
From   burning   fire   comes   dragging  Dorian 

Gray 
Stepping  along  in  attitudes  of  ease 
Followed  by  Salome  and  Charmides. 

Then  Shakespeare  and  Adonis  laughing,  come 
Together  dancing,  gracefully  handsome : 
{Continued  on  page  71) 


Page  Forty-Nine 


Grand  Opera  Over  Here  and  Back  There 

Can  America  Ever  Come  to  the  Operatic  Taste  and  Appreciation 
of  Europe  is  a    Question    Often    Asked   and  Rarely   Answered 

Efy  Edward  Hungerford 


IN  the  heart  of  the  modern  Paris  stands  the  Grand 
Opera.  It  gives  its  name  and  the  vista  of  its  pres- 
ence to  one  of  the  most  distinguished  of  the  great 
boulevards  which  Hausmann  cut  thru  that  old  city.  For, 
no  matter  how  you  may  scoff  and  smile  at  some  features 
of  the  Opera  House — its  vast,  useless  retiring-rooms  and 
its  flamboyant  main  stair,  there  is  a  certain  majesty  and 
dignity  to  the  exterior  of  the  Gamier  masterpiece  that  is 
not  to  be  gainsaid.  Just  as  the  impractical  auditorium 
of  the  theater — entirely  too  small  for  so  vast  a  structure 
— also  has  a  distinguished  beauty  of  its  own. 

Yet  were  the  Opera  to  be  housed  in  the  shabbiest  build- 
ing in  all  Paris — if  one  could  bring  to  mind  a  really 
shabby  great  building  in  the  French  capital — it  still  would 
be  the  Opera.  Nothing  less.  When,  during  the  passing 
of  the  historic  sixties,  Faust  was  first  produced  with 
much  eclat,  Paris  thought  nothing  at  all  of  going  down 
to  a  shabby  old  house  which  still  stands  in  the  Square 
of  the  Arts  and  Metiers  to  attend  the  debut  of  that  most 
famous  opera.  She  thinks  nothing  today  of  wandering 
down  the  grand  boulevards  and  turning  up  a  narrow 
side  street  to  the  Opera  Comique  which  for  nearly  eighty 
years  has  insisted  upon  turning  its  back  upon  the  boule- 
vards and  in  facing  a  very  small  and  obscure  open  square. 
Vistas  mean  nothing  to  the  Comique.  It  is  to  itself,  Art. 
And  also  to  a  great  majority  of  seasoned  Parisians  who 
insist  upon  turning  their  backs  upon  the  huge  and  some- 
what dingy  Grand  Opera  and  in  going  repeatedly  to  its 
intimate  and  always  immaculate  white  and  gold  audi- 
torium. 

Nine  times  a  week  its  curtain  rises  upon  the  opening 
scenes  of  scheduled  performances  and  nine  times  a  week 
the  lofty  auditorium  is  filled — to  its  final  seat.  The  so- 
called  "big"  Opera  House  usually  has  but  four  auditions 
in  the  course  of  seven  days  and  it  is  not  quite  so  sure  to 
be  crowded.  Save  for  Faust  and  the  Valkyrie.  These 
operas,  despite  their  years,  are  perennial  in  their  popular- 
ity. The  big  house,  true  to  its  traditions  and  its  govern- 
ment subvention,  may  and  always  does  go  each  year  into 
operatic  experiments.  These  are  expensive.  And  usually 
unprofitable.  At  the  best,  the  comparatively  small  seating 
capacity  of  the  Grand  Opera  is  a  very  large  practical 
handicap.  But  Gounod  and  Wagner  may  be  trotted  out 
to  make  good  the  deficiencies  of  composers  who  have 
never  won  the  fickle  Paris  heart.  Faust  and  the  Valkyrie 
are  as  sure  money-makers  in  the  big  house  as  Carmen 
and  the  Tales  of  Hoffman  and  Louise  in  the  smaller  one 

Paris  Audiences 

In  Paris  there  are  six  of  the  so-called  "subvention 
houses,"  national  theaters  receiving  a  goodly  part  of  their 
financial  support  from  government  sources,  in  return  for 
which  they  are  pledged  to  do  two  definite  things — to 
maintain  the  best  traditions  of  the  French  language  and 
music  and  to  retain  their  prices  at  levels  so  low  that  the 
humblest  patron  of  the  arts  may  be  able  from  time  to 
time  to  attend  their  performances.  Two  of  these  houses 
are  solely  dramatic,  'the  Comedie  Franchise  and  the 
Odeon ;  two  of  them  are  of  a  decidedly  light  character, 
presenting  chiefly  opera  bouffe ;  the  other  two  are  of  the 
Grand  Opera  and  the  Opera  Comique.     At  all  of  them 


resident  companies  are  maintained  the  year  round.  To 
be  a  member,  even  for  a  season  or  two,  of  any  one  of 
the  four  great  houses  is  a  distinction  to  be  coveted  by 
any  actor  or  singer.  These  are  more  than  theaters. 
They  are  training  schools.  The  performances  that  they 
give  never  lack  distinction.  True  it  is  that,  in  the  hard 
poverty-stricken  years  that  have  followed  the  World 
War,  some  of  their  settings  have  grown  a  bit  shabby,  but 
there  is  no  shabbiness  upon  the  art  that  walks  the  stage  in 
front  of  them. 

La  Scala  and  Others 

Yet  the  Parisian  who  demands  real  art  in  his  theater 
is  by  no  means  limited  to  the  "subvention  houses"  for  it. 
That,  in  the  case  of  the  merely  spoken  drama,  hardly 
needs  to  be  stated;  yet  this  last  spring  when  both  the 
Grand  Opera — its  official  name  is  the  National  Academy 
of  Music — and  the  Opera  Comique  were  doing  a  busi- 
ness equal  only  to  the  capacity  of  their  auditoriums,  a 
large  theater  in  the  Avenue  Montaigne — the  Champs- 
Elysees — without  one  franc  of  government  aid,  was  con- 
ducting an  immensely  successful  season,  financially  as 
well  as  from  every  artistic  aspect.  Paris  is  opera  mad. 
For  decades  the  opera  has  spelled  more  than  merely  en- 
tertainment to  her;  it  is  her  bread  and  her  butter;  if  you 
please,  the  lifeblood  of  her  veins. 

London  is  nearly  twice  the  size  of  Paris.  And  yet  she 
has  failed  at  all  times  to  maintain  successfully  even  one 
opera  house.  Her  ancient  Royal  Opera  in  Covent  Garden, 
altho  a  fearfully  unprepossessing  house  without,  within 
is  a  very  comfortable  one.  Its  history  is  the  history  of  a 
succession  of  tragedies.  Three  years  ago  I  witnessed  a 
magnificent  attempt  to  turn  the  traditional  ill-luck  of  the 
old  house.  Sir  Thomas  Beecham  was  presenting  grand 
opera  as  magnificently  as  it  was  being  offered  anywhere 
in  the  world  at  that  time,  even  in  our  own  Metropolitan, 
in  New  York- — but  to  half-filled  houses.  The  enterprise 
was  fore-doomed.  .  .  .  This  spring  I  went  once  again 
to  Covent  Garden.  Another  attempt  was  being  made  to 
revive  its  ancient  glories.  Grand  opera  was  again  being 
sung — laboriously  this  time ;  in  English  and  without  casts 
of  any  great  distinction.  Yet  not  without  at  least  a  de- 
gree of  success.  The  experiment  may  pull  thru.  The 
British  hate  to  give  up  a  fight.  It  is  one  of  the  definite 
traits  of  the  British  nature. 

You  cannot  remake  British  temperament,  however ;  it 
refuses  to  be  refashioned  to  the  Latin  or  the  Gallic 
models.  In  New  York  grand  opera  is  a  magnificent  suc- 
cess today  largely  because  New  York  has  ceased  to  be  an 
American  city.  Embarrassing  as  it  may  be  to  state  the 
fact,  the  truth  remains  that  it  is  the  Italian  population  of 
that  city  that  has  made  grand  opera  a  popular  success 
there.  Of  the  entire  world,  the  Italian  is  the  great  opera 
fan.  You  will  find  plenty  of  other  good  opera  houses  in 
Europe ;  in  Geneva  there  is  a  lovely  small  replica  of  the 
Paris  Opera,  Berlin  has  a  glorious  Stadt  Theater :  Vienna 
an  even  finer  one ;  in  Antwerp  in  May  last  I  saw  the  droll 
and  venerable  Daughter  of  Madame  Angot  in  a  house 
that  was  perfectly  delightful  in  its  combination  of  the 
very  antique  and  the  modern.  There  is  a  wonderful 
{Continued  on  page  75) 


Page  Fifty 


Photo  by  Edith  Barakavich,  Vienna 


MARIA  MINDSZENTY 

Vienna's  reputation  as  a  city  of  beautiful  women  is 
more  than  sustained  by  Maria  Mindszenty  of  the 
Vienna  Opera  House  Ballet.  She  has  appeared  re- 
cently in  Coppelia,  Princess  of  Tragant  and  Carnaval 


Page  Fifty-One 


THE    HALLWAY 

By  Dr.  Arthur  Nilsen 

First  Prize 

This  photograph  shows  an  originality  both  interesting  and  daring.  Dr.  Nilsen  shot  down  for  his 

picture,  thereby  achieving  an  angle  not  usually  seen.   It  reminds  one  of  the  pictures  by  Degas 

The  Camera  Contest 


THE  prize  photographs  in  this  issue  were  picked 
from  nearly  two  hundred  entries  coming  from  all 
parts  of  the  world  and,  according  to  present  indi- 
cations, there  will  be  a  great  many  more  entries  next 
month.  There  is  a  high  standard  of  excellence  evident 
in  practically  all  the  photographs  submitted  and  a  steady 
growth  of  regular  contributors ;  but  the  ambitious  new- 
comer has  exactly  the  same  chance  for  the  prize  because 
before  all  it  is  the  photograph  that  counts. 

There  is  some  excellent  advice  to  hand-camera  users 
on  how  to  make  the  photograph  count ;  these  paragraphs 
were  printed  originally  in  The  Photo-Miniature  and  are 
well  worth  repeating. 

Learn  What  to  Leave  Out 

The  first  step  in  the  way  of  making  pictures  instead 
of  mere  snapshots  out-of-doors  is  to  think  what  you 
can  leave  out  of  the  scene  before  you  make  your  expo- 
sure. The  average  snapshot  includes  far  too  much  of 
the  subject  in  front  of  the  lens.  Prove  this  to  yourself 
by  going  over  a  few  of  your  out-of-door  negatives,  and 


see  whether  there  is  not  a  little  bit  in  every  negative 
which  would  make  a  more  interesting  picture  or  one 
more  "worth  while"  if  all  the  rest  of  the  film  were 
trimmed  away.  You  can  emphasize  this  lesson  by  en- 
larging a  dozen  of  your  outdoor  negatives  to  one 
uniform  size.  Looking  carefully  over  the  enlargements, 
you  will  see  plainly  that  they  all  need  trimming  or  cut- 
ting away,  so  as  to  give  prominence  to  the  chief  interest 
in  the  scene. 

Avoid  Wide-Range  Views 
The  average  landscape,  as  seen  by  the  eye,  is  chiefly 
interesting  or  beautiful  by  reason  of  its  large  masses  of 
color  contrast,  its  bigness  or  sense  of  space,  and  the 
variety  it  presents  in  form  and  light  and  shade.  To  por- 
tray such  a  scene  within  the  narrow  limits  of  the  average 
hand-camera,  losing  all  the  sense  of  space  and  color  con- 
trasts by  inharmonious  contrasts  of  light  and  shadow, 
will  usually  result  in  a  map-like  record  lacking  charm  and 
interest.  It  cannot  be  otherwise  in  the  great  majority  of 
instances.     Natural   scenes   embracing  a   wide   expanse 


Page  Fifty-Two 


SuiAOQVLAND 


VERANDA 
By  Charles  C.  Stover 
Second  Prize 
This  photograph  has  distinction  on  account  of  its  pure  design; 
all  unnecessary  things  have  been  eliminated.  '  It  is  a  composi- 
tion of  horizontals,  verticals  and  angles  with  the  foreground 
broken  by  the  correct  lines 

rarely  lend  themselves  to  small  reproductions  possess- 
ing pictorial  interest.  Leave  them  to  the  panoramist 
and  learn  to  see  the  pictures  in  the  little  of  nature  on 
every  hand.  You  can  learn  this  from  a  careful  sur- 
vey of  the  pictures  shown  at  any  exhibition. 

Landscape  With  Stream 
To  photograph  an  open  landscape  with  a  running 
stream  in  the  foreground,  so  that  the  surface  of  the 
stream  will  really  look  limpid  and  flowing,  is  not  an 
easy  task.  Under  normal  conditions  the  exposure 
should  not  exceed  one-tenth  second.  Sometimes  such  an 
exposure  is  possible  even  with  a  panchromatic  plate 
and  K-l  screen.  For  a  landscape  with  a  fairly  heavy 
foreground  or  yellowish  green  foliage,  the  only  way 
to  get  a  pleasing  color  value  in  the  landscape  and 
clouds  in  the  sky,  is  to  use  a  tripod,  wait  patiently 
until  there  is  no  movement  in  the  foliage,  and  give  an 
exposure  of  two  seconds  with  a  panchromatic  plate  or 
film  and  a  K-3  screen. 

Photographing  Ravines  or  Glens 

Dont  attempt  an  instantaneous  photograph  or  snap- 
shot of  a  ravine  or  glen,  even  when  the  sun  is  shining. 
The  result  is  bound  to  be  a  failure.  Use  a  tripod  and 
give  it  a  time  exposure  with  a  small  lens  aperture,  to 
get  depth  and  relief,  the  characteristic  features  of  such 
a  subject.  Try  to  get  the  light  falling  more  on  one 
side  of  the  subject  than  on  the  other,  not  directly  thru 


the  center.  With  a  fairly  clear,  bright  day 
and  the  lens  working  at  f22  try  an  exposure 
of  thirty  seconds.  Such  subjects  should  always 
be  photographed  in  the  early  forenoon  or  late 
afternoon  when  the  light  falls  from  a  low 
angle.  Where  the  light  comes  almost  entirely 
from  above,  a  longer  exposure,  say  thirty-five 
seconds,  may  be  required. 

Lake  Views 
A  lake  generally  means  a  fairly  large  ex- 
panse of  calm  surface  water.  We  may  or 
may  not  have  it  surrounded  by  hills.  But 
while  sky  light  may  be  cut  off  by  the  hills,  yet 
we  have  the  reflecting  effect  of  the  water  sur- 
face. Pictures  wherein  lakes,  large  ponds, 
wide-open  rivers,  and  other  large  masses  of 
water  occupy  any  considerable  portion  of  the 
foreground  division  of  the  picture,  are  among 
the  cases  which  call  for  very  great  care  and 
circumspection  as  regards  point  of  view. 
Meanwhile  the  hand-camera  man  may  be  wise 
in  accepting  a  word  or  two  of  general  advice. 

1.  Do  not  let  the  lake  or  open  water  extend 
from  one  side  of  your  picture  to  the  other. 

2.  Do  not  have  much  picture  space  occupied 
by  calm  water.  3.  Avoid  bright  patches  of 
water  close  to  dark  rocks,  tree  trunks,  etc. ; 
such  strongly  marked  contrasts  of  light  and 
shade  are  not  likely  to  be  very  pictorial.  _  If 


INTERIOR,  CHAPEL  OF  ST.  SAVIOUR  l 

By  Miss  Antoinette  B.  Hervey 

Third  Prize 

This    is    an    example    of    beautiful    treatment    of    an, 

architectural  •  subject.     It   has    depth,   height,   and    a 

great   sense  of   dignity 


Page  Fifty-Three 


SUAPUWUAND 


THE  GHOST  DANCE 
By 

Frank  M.  Hohenberger 

Honorable  Mention 
It  was  the  vision  and 
the  artistic  insight  in 
the  photographer's 
mind  that  really  pro- 
duced this  picture  of 
such  a  delicate  pic- 
torial content 


SUNSOAKED 
By   Lionel    Tompkins 

Honorable  Mention 
Looking  at  this  pic- 
ture is  like  looking  at 
a  painting  with  half- 
closed  eyes;  the  divi- 
sion lines,  and  line  is 
merely  the  separation 
of  masses,  are  very 
distinct.  With  half- 
closed  eyes  you  see 
things  in  mass;  with 
iopen  eyes  in  detail. 
Notice  how  beautifully 
the  grill-work  frames 
the   subject  matter 


the  edge  of  the  lake  is  fringed  with  heavy 
foliage,  remember  the  rule  to  expose  for  the 
shadows  and  let  the  high  lights  come  out  as 
they  will. 

Beach  Views 

A  straight-edged  sea,  whether  the  straight 
edge  be  the  horizon  or  the  inshore  surf,  is 
rarely  pictorial.  The  curved  line  of  a  bay,  or 
the  view  along  the  beach  giving  the  oftentimes 
wonderfully  beautiful  curving  lines  of  foam- 
flecked  water,  are  more  interesting.  If  pos- 
sible, include  a  glimpse  of  distant  sand-dunes 
or  cliffs  or  out-jutting  neck  of  land.  If  the 
composition  needs  a  dark  spot  in  the  fore- 
ground to  balance  it,  place  a  bit  of  washed-up 
timber  or  a  pile  of  seaweed  at  the  right  spot 
and  so  secure  the  dark  mass  required.  The 
sky  plays  an  important  part  in  such  pictures. 

This  month's  prize-winning  photographs 
were  selected  by  Mr.  E.  V.  Brewster,  Clarence 
H.  White,  president  of  the  Clarence  H.  White 
School  of  Photography,  and  founder,  as  well 
as  one  of  the  leading  spirits  of  the  Art  Center. 
The  third  judge  was  Margaret  Watkins,  gen- 
erally acknowledged  to  be  one  of  the  keenest 
judges  of  photographic  values  in  the  country. 

First  prise. — "The  Hallway."  Dr.  Arthur 
Nilsen,  55  West  10th  St.,  New  York  City. 

Second  prise. — "Veranda."  Mr.  Charles  C. 
Stover,  Trenton,  New  Jersey. 

Third  prise. — "Interior,  Chapel  of  St. 
Saviour."  Miss  Antoinette  B.  Hervey,  351 
West  114th  St.,  New  York  City. 

Honorable  Mention. — "The  Ghost  Dance." 
Mr.  Frank  M.  Hohenberger,  Nashville,  Indiana. 

Honorable  Mention. — "Sunsoaked."     Lionel 
Tompkins,  301  So.  Wabash  Ave.,  Chicago,  111. 
(Continued  on  page  78) 


Page  Fifty-Four 


Dual 
Personalities 


INMAN  KNOX 
(Right) 

Not  content  with  acquiring  fame  as  a  sculptor 
of  children,  Mr.  Knox,  who  is  a  nephew  of  the 
Bishop  of  Manchester  and  grandson  of  Sir  George 
Knox,  has  started  a  foundry  of  his  own,  where  he 
casts  all  his  bronze.    Mr.  Knox  is  only  twenty-one 


Photo  ©  by  Dorien   Leigh.   Ltd. 


WILLIAM  McFEE 

(Below) 

Chief  Engineer  and  an  advocate  of  the  oil-burning  ships, 
whose  pertinent  advice  to  struggling  authors  is  "if  you 
cant  get  published — go  to  sea."  Mr.  McFee  followed 
his  own  advice.  After  sailing  the  Seven  Seas,  he  spent 
a  year  on  shore  trying  to  be  an  author  and  nothing  but 
an  author.  One  year  cured  him — that — and  the  regularity 
with  which  his  manuscripts  returned.  He  went  back  to  sea, 
consequently  the  library  of  the  lover  of  sea  stories  has 
been  enriched  by  "Casuals  of  the  Sea,"  "Captain  Mace- 
doine's  Daughter"  and  several  other  volumes.  Mr.  McFee's 
novel,  "Command,"  is  to  be  published  by  Doubleday-Page 


ROSS    SANTEE 

"Horse-wrangler"  from  Arizona  whose  first 
artistic  ambition  was  to  be  a  cartoonist.  That 
was  several  years  ago.  Now,  his  sketches  of 
horses  in  action  are  in  great  demand.  Three 
of  his  etchings  were  hung  in  this  year's  National 
Academy.  In  spite  of  this,  Mr.  Santee  spends 
seven  months  of  every  year  "wrangling"  horses 
on  the  Bar-F-Bar  ranch  near  Globe,  Arizona, 
which   may  explain  his  knowledge   of  horses 


Photo  ©  by 
Paul  Thompson 


Page  Fifty-Five 


The  Business  of 

Depicting  the  Career  of  Barbara 


From  the  Sketch-book  of 
K.  D.  Gridley 


From  the  country  village  comes 
Barbara  to  the  city  village. 
Observing  that  the  long-haired 
artist  is  never  of  her  sex,  she 
straightway  enters  a  barber- 
shop, and  after  hours  of  torture 
by  shears,  steam  and  electricity 
she  emerges,  with  bristling 
locks  and  shrinking  purse,  to 
conquer  the  landlords-and-ladies 
in  and  around  Greenwich  Street 


Bab  (she  has  bobbed  her  name 
too)  is  learning  that  a  tarn  and  a 
smock  and  a  sketch-book  do  not 
make  an  artist.  After  a  three 
months'  struggle  she  hasn't  acquired 
a  foothold  even  on  Round  One  of 
the  Ladder  of  Fame  which,  she  has 
decided,  has  more  steps  to  climb 
than  have  the  four  flights  of  stairs 
leading  to  her  little  skylight  studio 


Bab  opens  her  door  to  find 
uninvited  guests  devouring 
her  supper.  Hunger  and 
anger  beget  courage;  she 
follows  the  example  of  the 
farmer's  wife  in  the  nursery 
rhyme  and  grasps  the  carv- 
ing-knife. But  these  are  not 
three  blind  mice,  so  they 
whisk  away  without  leaving 
their     tails     behind    them 


Pane  Fifty-Six 


Being  an  Artist 

and  Pointing  an  Obvious  Moral! 


The  upward  curve  has 
departed  from  Bab's  lips 
and  hair.  She  has  lost 
faith  in  barbers,  art  edi- 
tors, Greenwich  Village, 
and  her  own  talent.  "I 
dont  want  a  career,"  she 
glooms,  "I  want  a  romance" 


Bab  turned  a  corner  one  day  and  bumped 
into  Romance  in  the  shape  of  a  young 
salesman.  And  soon  she  exchanged  the 
artist's  smock  and  sketch-book  for  the  house- 
frock  and  cook-book.  But  with  three  squares 
a  day  consumed  and  four  stairs  eliminated 
she  is  forced  to  make  the  scales  behave 
by     vigorous     gymnastics,     done     to     music 


I  1  M 


Two  years  later  we  see 
Bab  exercising  to  the 
music  of  Romance,  Jr. 
Nor  has  she  renounced 
her  career  as  a  painter. 
At  this  moment  she  has 
on  exhibition  in  the 
Home  Galleries:  Two 
chairs  and  a  table  — 
studies  in  white  enamel; 
one  kitchen  floor — done 
in  brown  oils;  a  pair  of 
black-and-gold  candle- 
sticks; two  moss-green 
window  boxes;  a  futur- 
istic smoking-stand  to 
ivhich  the  judge,  Romance, 
Sr.,    awarded    first    prize 


T^      v* '"- 


Page  Fifty-Seven 


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9 

Musicians  and 
Their  Mediums 


Photo  by  Lumiere 


Cornelius  Van  Vliet  is  a  Hollander  by  birth, 
but  an  American  by  education  and  adoption. 
He  was  the  only  soloist  to  appear  twice  with 
the  Philharmonic  Stadium  Concerts.  This  sea- 
son he  will  be  first  solo  cellist  with  the  Phil- 
harmonic, under  Willem  Mengelberg;  he  will 
also  give  a  series  of  Musicales  lntimes  at 
Aeolian  Hall  in  conjunction  with  Cecil 
Arden    of    the    Metropolitan    Opera    Company 


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• 

Photo  by  Walter  Barnett  &  Company 


Carlos  Salzedo,  one  of  the  most  eminent  harp 
virtuosi  who  have  ever  visited  this  country.  Of 
world  fame,  he  has  founded  in  New  York  the 
Salzedo  Harp  Ensemble,  which  tours  the  country 
from  coast  to  coast,  A  composer  of  the  modern 
school,  he  is  also  solving  the  seed  of  what  he 
calls  "the  new  harpism" 


One  does  not  expect  the  Land  of  Cakes  and  Bag- 
pipes to  produce  an  eminent  pianist,  but  Frederick 
Lamond,  born  north  of  the  Tweed,  is  counted  one 
of  the  two  greatest  living  exponents  of  the  music  of 
Beethoven  on  the  piano,  the  other  being  Busoni. 
He   tours  America  for  the   first  time   this   season 


Photo  by 
Arnold  Genthe 


Page  Fifty-Eight 


Wanderings 

The  Man  About  Town 


THIS  is  going  to  be  a  veritable  Russian  season,  and 
even  some  of  the  profoundest  admirers  of  Slavic 
music,  literature  and  art  are  disposed  to  think  that 
the  mania  for  things  Russian  is  being  somewhat  over- 
done. Thankful  as  we  all  are  to  Morris  Gest  for  the 
Chauve-Souris,  there  is  room  for  doubt  as  to  the  wisdom 
of  importing  the  entire  company  of  the  famous  Kam- 
erny,  or  Art  Theater  of  Moscow. 

^  ^  ^ 

"When  one  recalls  the  disappointment  which  befell  the 
Theatre  du  J'icux  Colombier,  which  is  to  Paris  what  the 
Moscow  Art  Theatre  is  to  the  old  capital  of  Russia,  it  is 
impossible  to  avoid  a  feeling  of  dubiety  as  to  the  experi- 
ment of  bringing  over  a  still  more  exotic  form  of  dra- 
matic art.  Jacques  Copeau,  one  of  the  most  gifted  man- 
agers and  subtle  actors  France  has  produced,  with 
a  really  fine  company,  including  that  truly  great  actor 
Charles  Dullin,  only  managed  to  struggle  along  in  New 
York  with  the  financial  aid  of  the  French  Commission. 
That  is  why  the  Guitrys  are  hesitating  at  coming  over, 
and  they,  as  well  as  Duse  and  Bernhardt,  who  both  con- 
template revisiting  us,  require  all  sorts  of  guarantees, 
some  of  which  are  not  likely  to  be  forthcoming. 

We  are  also  promised  a  visit  by  Max  Reinhardt,  the 
famous  master  of  mass 
effects,  who  is  to  stage 
here,  among  other 
things,  "A  Midsummer 
Xight's  Dream,"  and 
Offenbach's  "Orfee  aux 
Enfers."  No  producer 
has  greater  prestige 
than  Reinhardt,  whose 
name  ranks  with  Stanis- 
lawsky  and  Gordon 
Craig  for  originality  of 
stage  effects,  while  his 
groupings  and  produc- 
tions generally  are  on  a 
much  more  grandiose 
scale,  witness  "Sumur- 
un"  and  "The  Miracle." 
Reinhardt  also  wants 
guarantees,  and  big 
ones,  and  nothing  is  set- 
tled as  yet.  I  believe, 
however,  that  a  S250,- 
000  guarantee  is  already 
forthcoming  for  a  Ger- 
man Art  Theatre  in 
New  York,  which  will 
visit  other  cities  in  this 
country. 


But  to  return  to  Rus- 
sia. The  Soviet  author- 
ities are  so  interested  in 
the  visit  to  this  country 
of  the  Moscow  Art 
Theatre  that  they  have 
chartered  an  ark  to  con- 


vey the  company  with  all  their  scenery  and  effects  from 
Petrograd  to  New  York,  and  are  spending  literally  bil- 
lions of  roubles  on  the  enterprise.  One  almost  scents 
propaganda,  but  Morris  Gest  definitively  declares  that 
any  such  thing  is  barred,  and  one  believes  him.  I 
had  a  chat  with  Yisaroff,  the  advance  representative  of 
the  Kamerny,  when  he  was  in  New  York  a  few  weeks 
ago,  and  altho  he  spoke  with  the  reserve  and  caution 
which  might  be  expected  from  one  who  had  to  return  to 
Russia,  he  gave  one  the  idea  that  the  views  of  himself 
and  his  colleagues  on  Russian  politics  are  akin  with  those 
of  Chaliapin  and  Balief,  and  what  the  two  eminent  Rus- 
sians think  about  Sovietism  can  scarcely  be  expressed  in 
polite  language. 


Yisaroff  informed  me  that  his  famous  company  of 
forty-five  performers,  under  Stanislawsky,  greatest  of 
actor-managers,  would  give  a  number  of  classic  and 
modern  plays,  and  as  these  include  such  standard  works 
as  Racine's  "Phedre,"  some  of  Shakespeare's  plays, 
Wilde's  "Salome,"  plays  by  Beaumarchais,  Calderon,  Ib- 
sen, Goldoni,  Synge  and  others  equally  well  known  to 
devout  playgoers,  they  may  manage  to  command  large 
audiences  despite  the  fact  that  the  performances  are  in 
Russian.     The  plays  will  be  staged  in  the  modern  and 

sometimes  futurist  style. 
Pantomimes  will  also 
occasionally  be  given, 
with  ballet  and  or- 
chestra, the  latter  being 
recruited  locally.  The 
leading  woman  is  Alice 
Koonen  and  the  leading 
man  Nicolai  Tzeretelli, 
and  the  widow  of  Tche- 
koff,  the  famous  author, 
is  one  of  the  performers. 


ALEXANDER  GLAZOUNOFF 
Pupil  of  the  great  Rimsky-Korsakoff  and  his  successor  as  head  of 
the   Petrograd   Conservatoire,   Glazounoff   is   one   of   Russia's   most 
eminent   composers  and  conductors.     He  is  to  visit  America  for 
the    first   time    this    season,   and    will    conduct    symphony    concerts 

in  several  of  the  larger  cities 


Personally  I  wish  they 
would  do  Andreveff's 
"The  Life  of  Man,"  of 
which  I  saw  a  perform- 
ance at  the  Kamerny  in 
1914.  It  is  one  of' the 
most  impressive  and  at 
times  thrilling  things  of 
its  kind  I  have  wit- 
nessed, and  it  moved 
me  powerfully,  altho  my 
knowledge  of  Russian  is 
of  the  slightest.  But  the 
diction  of  the  actors 
was  so  perfect  and  their 
facial  expression  and 
gestures  of  such  signifi- 
cance that  one  had  no 
difficulty  in  following 
every  incident  and  de- 
velopment in  this  poign- 
ant allegory. 
(Continued  on  page  73) 


Page  Fifty -Nine 


Photograph  by  Arthur  F.  Kales 


Mary  Pickford  gives  us  a  new  definition 
for  the  word  "wall-flower"  in  her  latest 
picture,  "Tess  of  the  Storm   Country" 


Page  Sixty 


Random  Impressions 


By 

R  R  Herbert 


THE  Automat — the  cheerful  click  of  nickels  on  the 
marble  slab  as  the  cashier  makes  change  ...  a 
continual  clattering  of  dishes  and  shuffling  of  feet 
...  A  young  couple,  arm  in  arm,  before  the  fascinating 
glass-covered  shelves.  They  are  obviously  newly  married 
— you  need  not  look  at  her  gleaming  new  ring  to  see  that. 
He  is  explaining  how  it  all  works  and  she  squeezes  his 
arm  as  she  takes  it  all  in  with  shining  eyes.  What  fun 
it  is  to  be  married  and  have  half  a  dollar's  worth  of 
nickels  for  your  lunch !  Laughing  and  whispering  they 
make  their  choice,  and  her  naive  delight  as  the  little  doors 
fly  open  is  quite  charming.  Like  two  small  children  they 
hurry  away  to  an  empty  table,  and  after  a  minute  you 
may  see  him  trying  to  cut  a  large  sandwich  with  one 
hand  .  .  .  the  foolish  young  things  are  actually  holding 
hands  under  the  table  ...  So  young.  So  happy.  In 
the  Automat.  Such  is  the  glamor  of  Youth  and  Love. 
*     *     *     * 

Grand  Central  Terminal — dawn.  Dim  shadows  on  the 
cool  marble.  Muffled  sounds,  echoed  from  the  vast  vaulted 
roof,  seem  almost  an  indecency  in  the  great  silence  .  .  . 
Is  that  a  pulpit  or  an  information  bureau?  Are  those 
acolytes  or  porters?  Are  these  worshipers  or 
passengers?  Is  this  a  cathedral  or  a  railway 
station  ? 

*     *     *     * 

Times  Square  at  Midnight — garish  with 
crude  lights.    Just  ahead  of  me,  crossing 
Broadway,  a  girl  in  crisp,  blue  ging- 
ham —  short    sleeves,    short    skirt. 
Prettily  rounded  arms  and  neck 
— deliciously     slim    legs — her 
trim  figure  the  very  epito- 
me  of   girlhood.      How 
cool      and      fresh      and 
wholesome  she  looks  on 
this      sweltering     night. 
How  different.    Increas- 
ing my  pace  I  overtake 
her  to  see  what  manner 
of    face    this    little    girl 
has.     Chalk  white  with 
painted    lips    that    look 
like     an     ugly     wound. 
Thin.     Hungry.   Fright- 
ened.     Shameless.      My 
God — whose  fault  is  it? 
The  electric  signs  give  no 
answer  to  my  question. 


Commuting  .  .  .  Two  minutes  to  make  the  train,  two 
hundred  yards  to  go,  the  bridge  to  cross  (those  terrible 
stairs)  and  the  train  in  sight  .  .  .  My  very  recent  break- 
fast silently  pleading  with  me  to  walk,  my  conscience 
prompting  me  to  run — my  friend  urging  me,  for  the  love 
of  Mike,  to  run  ...  I  run  .  .  .  Questions  race  thru 
my  mind  .  .  .  Will  there  be  time  to  buy  a  paper?  Will 
I  get  a  seat?  Why  did  I  drink  so  much  coffee?  Why  is 
my  respiration  so  very  labored?  Am  I  growing  old  and 
infirm  .  .  .  With  a  screech  of  grinding  brakes  the  train 
pulls  up  as  I  stagger  onto  the  bridge  .  .  .  There  is  no 
time  to  buy  a  paper  .  .  .  I  do  not  get  a  seat  ...  I 
undoubtedly  drank  too  much  coffee  ...  I  wheeze  like  a 
vacuum  cleaner  ...  I  must  be  growing  old  and  infirm 
.  .  .  But  I  caught  the  train  .   .   .   Commuting  . 


The  Movies — rococo  lobbies  with  red  plush  hand-rails 
— carpets  with  deep  pile — a  slight  odor  of  disinfectant. 
— Soft  lights  from  translucent  globes  now  blue,  now  red, 
as  the  music  dies  and  swells — crowds  behind  canvas 
tapes — a  sharp  elbow  in  the  small  of  your  back — a  pro- 
tective male  with  an  arm  aggressively  around  the  shoulders 

of  a  bobbed-haired  child 
in  a  satin  cape  .  .  . 
Intermission  and  the 
pushing  rush  for  the 
choice  center  seats  .  .  . 
The  spotlight  and  a  bow- 
ing orchestra  leader — the 
swelling  sound  of  the 
poor  man's  symphony — - 
a  scattering  applause. 
.    .    .   Subdued  rustlings 


general 


sigh 


of 


and    a 

settling  content. 
The  slow,  graceful  drap- 
ing back  of  a  silken  cur- 
tain —  license  number 
0013  —  black  and  white 
movement.  .  .  .  Whis- 
pers .  .  .  coughs.  .  .  . 
In  back  a  stout  lady 
who  has  forgotten  her 
glasses  listens  audibly  to 
captions  read  in  a  bored 
voice  by  a  middle-aged 
husband  who  had  rather 
be  home  with  a  pipe. 
A  close  embrace  .  .  . 
Fade-out. 


Page  Sixty-One 


Three 
Arguments 
In  Favor  of 
the  Younger 
Generation 


The  Mantle  of  Paternal  Success* 

Descends  Lightly  to  Their 

Slim  Shoulders 


Photograph  by  Edward  Thayer  Monroe 

EVA  LE  GALLIENNE 
Is  one  of  the  few  junior  players  in  whose  mental 
processes  we  can  believe.  She  lends  to  her  acting  a 
poetry  no  less  delicate  and  authentic  than  her  father's 
verse.  She  demonstrated  in  "Liliom"  that  she  can  be 
silent  more  eloquently  and  eloquent  more  silently 
than    any    of    our    younger   actresses 

CONSTANCE    BENNETT 
7s    just   one    more    society    bud   who    refuses    to    blush 
unseen!      This    graceful    daughter    of    Richard    Bennett 
has  gone  to  Paris  to  perfect  further,  if  that  is  possible, 
the  dancing  which  delighted  the  patrons  of  one  of  the 

smarter  grills  this  spring 


\ 


Photograph  by  Marcia  Stein 

MARGALO  GILLMORE 
First  sprang  into  prominence  as  the  fairer 
daughter  of  the  "Famous  Mrs.  Fair."  Her 
intelligent  and  moving  characterizations 
in  "The  Straw"  and  "He  Who  Gets 
Slapped"  prove  that  talent  is  even  more 
necessary  to  success  than  a  father  who  pre- 
sides over  the  Actors'  Equity  Association 


Photograph  by 
Ira  L.  Hill 


Page  Sixty-Two 


Chairs  in  the 

Decorative 

Scheme 

Photos  by  the  Courtesy  of  the  Wiener  Werkstaette 


This  formal  arrangement  is  relieved  from 
any  tendency  of  stiffness  by  the  elongated 
chair  back  with  the  decorative  vine  design. 
The    silver    vases    are    by    Josef    Hofmann 


This  rounded-bach  chair  with  its  three  down 
cushions  give  an  air  of  comfort  and  infor- 
mality to  this  group  arrangement.  To  the 
right  is  undoubtedly  one  of  the  most  com- 
fortable chairs  ever  built.  The  silver  lamp 
is  by  Hofmann,  and  the  wall  is  relieved 
by  a  series  of  brilliant  illustrations,  for 
Grimm's    Fairy    Tales,    by    Joseph    Urban 


Page  Sixty-Three 


iX 


In  the 

Hungarian 

Cinema 


Photographs  by  D'Ora 
of  Vienna 


i  *  *  •  •  # 


^4t  tfte  upper  Ze/t  is  Milada  Hannerovna,  a 
popular  film  idol  of  Prague,  and  well 
known  thruout  the  Continent.  Above,  Mme. 
Kristincovich,  another  film  favorite  and  fa- 
mous for  her  red  hair  and  green  eyes.  At 
the  left  is  Lucy  Doraine,  still  another  beauty 
of  the  Hungarian  silversheet 


Page  Sixty-Four 


SijAOQWLAND 


A  clay  of  such  amazing  power  no  less  than  a  dozen  imitations  have  sprung 
into  being;  applied  in  a  moment;  starts  its  work  in  ten  more  minutes;  and— 


— Injbrty  minutes,  wiped  away,  the  clay  kas  forced  the  clarity  and  color  of 
youth  to  any  humanskinonwhichitia  applied.  A  ntwtriumpkof dermatology 


A  New  Skin  in  40  Minutes 

"with  this  Astounding  Beauty  Clay! 


How  a  Pleasure  Trip  to  Sunny  Wales  Uncovered 
a  Secret  of  Mother  Earth's  That  Forever  Ends 
Any  Women's  Need  for  a  Complexion  Beautifier 


Keep  your  skin  pores  clean,  open,  tinslintr  with 
life  I  My  father  has  made  you  a  remarkable  offer  be- 
low. Read  carefully. 


By  Martha  Ryerson 

I  HAVE  brought  to  America  the  greatest  news 
women  ever  heard  about  the  skin.  From  Wales 
where  I  spent  a  month  without  seeing  a  single 
bad  complexion.  I  went  there  with  a  complexion  that 
bad  been  my  despair  since  childhood.  One  afternoon 
J  left  it  in  the  hills;  exchanged  it  for  one  of  absolute 
purity  and  undoubtable  natural  color. 

Except  that  I  can  now  let  you  prove  it  for  yourself' 
I  would  never  tell  the  story  — a  story  my  own  father 
found  it  hard  to  believel 

Hardest  of  all  to  believe  is  this:  the  transformation 
took  just  forty  minutes  1   Here  are  the  facts; 

About  the  first  thing  one  notices  in  this  southern 
English  province,  is  the  uniformly  beautiful  com- 
plexions. The  lowliest  maid— and  her  mother,  too— 
has  a  radiantly  beautiful  skin.  Mine,  lacking  lusture 
and  color,  with  impurities  nothing  seemed  to  eradi 
cate  or  even  hide,  was  horribly  conspicuous. 

It  was  a  happy  thought  that  took  a  most  unhappy 
girl  on  a  long  walk  through  the  hills  one  afternoon. 
I  had  stopped  at  the  apothecary's  to  replenish  my 
cosmetic — to  find  it  was  unknown.  They  did  not  have 
even  a  cold  cream.  The  irony  of  it!  In  a  land  where 
beauty  of  face  was  in  evidence  at  every  turn  —  the 
women  used  no  beautifiersl  Do  you  wonder  I  "took 
to  the  hills?"  I  didn't  want  to  see  another  peaches- 
and-creamy  complexion  that  day.  But  I  did. 

At  a  house  where  I  paused  for  a  drink  from  the 
spring,  I  stepped  back  in  surprise  when  the  young 
woman  straightened  up  to  greet  me.  Her  face  was 
covered  with  mud.  I  recognized  the  peculiar  gray  of 
that  section;  very  fine,  sleek,  smooth  clay  it  was. 
Seeing  my  surprise,  the  girl  smiled  and  said,  "Madam 
does  not  clay?"  I  admitted  I  did  not! 

1  Decide  to  "Clay" 

In  a  moment,  she  wet  the  clay  which  had  dried  on 
her  face  and  neck,  wiped  it  away,  and  stood  in  all  the 
glory  of  a  perfect  complexion.  I  think  I  shall  never 
again  envy  another  as  I  did  that  stolid  maiden  of  the 
hills.  Her  features  were  not  pretty;  they  did  not  need 
to  be.  For  no  woman  will  ever  have  a  more  gorgeous 
skin.  She  explained  thatthisamazingclay  treatment 
did  it.  The  natives  made  a  weekly  habit  of  "claying" 
the  skin,  quite  as  one  cares  regularly  for  the  hair. 

I  was  easily  persuaded  to  try  it.  Had  I  not  done 
ridiculous  things  in  beauty  parlors  where  many  could 
see  my  Iplight?  We  tucked  a  towel  over  my  blousei 


and  from  the  spring's  bed  she  took  the  softt  soothing 
clay  and  applied  it.    . 

As  we  sat  and  talked,  the  clay  dried.  Soon  I  experi- 
enced the  most  delightful  tingling  in  every  facial 
pore;  the  impurities  were  being  literally  pulled  out. 
Half  an  hour  more,  and  we  removed  the  clay  mask. 
Hopeful,  but  still  skeptical,  I  followed  into  the  tiny 
house  to  glimpse  myself  in  a  mirror. 

My  blemishes  were  gone/ 

I  fairly  glowed  with  color  that  spread  down  the 
neck  to  the  shoulders.  My  cheeks  were  so  downy 
soft,  I  felt  them  a  hundred  times  on  the  way  home. 
Father's  surprised  look  when  I  entered  the  rooms  of 
the  little  inn  that  evening  was  the  most  genuine  com- 
pliment a  woman  ever  received.  In  a  basket  I  had 
two  crocks  of  the  precious  clay.  I  thought  father's 
questions  would  never  end;  where  did  I  find  it;  could 
I  take  him  to  the  spot:  what  was  its  action,  and  re- 
action, and  lotselsel  didn't  know.  Fatheris a  chemist. 

Suddenly  it  dawned  on  me.  He  wanted  to  unearth 
the  secret  of  that  clay's  amazing  properties,  and  take 
it  to  Americal  For  two  weeks  we  staid  on:  he  worked 
all  day  at  his_"mud  pies"  as  I  called  them.  Back 
home  at  last  in  Chicago,  he  worked  many  weeks 
more.  He  experimented  on  me,  and  on  all  my  girl 
friends.  At  last,  he  scientifically  produced  clay  iden- 
tical with  that  Welsh  clay  in  its  miraculous  effects — 
only  ten  times  more  smooth  and  pure. 

\nyone  May  Now  Have 
This  Wonderful  Clay 

News  of  the  wonders  performed  by  this  clay  has 
brought  thousands  of  requests  for  it.  Women,  every- 
where (and  men  too,  by  the  way)  are  now  supplied 
Forty  Minute  Clay.  The  laboratory  where  it  is  com- 
pounded sends  it  direct  to  the  user.  A  jar  is  five  dol- 
lars, but  I  have  yet  to  hear  of  anyone  who  d'd  not 
regard  it  worth  several  times  that  amount.  For  mind, 
in  over  six  hundred  test  cases,  it  did  not  once  fail, 
It  seems  to  work  on  all  ages,  and  regardless  of  how 
pimpled,  clogged  or  dull  the  skin  may  be. 

The  application  is  readily  made  by  anybody,  and 
the  changes  brought  about  in  less  than  an  hour  will 
cause  open-mouthed  astonishment.  I  know. 

When  I  see  a  woman  now,  with  a  coarse-textured 
skin  that  mars  the  whole  effect  of  her  otherwise 
dainty  care  of  self,  it  is  all  that  I  can  do  to  refrain 
from  speaking  of  this  natural,  perfectly  simple  way 
to  bring  a  skin  end  color  such  as  Nature  meant  us  to 
have— and  has  given  us  the  way  to  have. 


FREE  DISTRIBUTION 
OF  *52S  JARS 

(Only  One  Jar  to  a  Family) 

The  general  public  is  entitled  to  benefit  by  a 
discovery  of  this  importance.  So,  for  a  limited 
time  we  will  distribute  regular,  full-size  $5.00  jars 
of  Forty  Minute  Clay  without  profit — at  only  the 
actual  cost,  which  is  $1.87. 

You  may  have  your  first  jar  for  only  this  bare 
cost  of  getting  it  in  your  hands!  The  expenses  of 
compounding,  refining,  analyzing,  sterilizing, 
packing,  printed  announcements,  and  shipping 
in  large  quantity,  has  been  figured  down  to  $1.87 
per  jar,  plus  postage. 

For  the  small  laboratory  cost  price  of  $1.87  for 
ingredients,  shipping,  etc.,  is  not  really  a  pay- 
ment: rather,  adeposit  that  we  will  promptly  re- 
turn if  you  are  not  unreservedly  satisfied  that 
this  miracle  clay  is  all  we  claim. 

Send  no  money  now.  Pay  postman  the  net  lab- 
oratory charges  of  $1.87  plus  postage,  when  he 
brings  your  jar.  Or,  if  unlikely  to  be  at  home  at 
mail  time,  enclose  $2.00  and  jar  will  arrive  post- 
paid, with  the  same  money-back  guarantee. 

I  can  assure  any  man  or  woman  who  will  try 
this  miracle  of  Nature's  own  chemical  laboratory 
a  remade  skin. 


i9^i^ 


/ 


Head  Chemist 


The  Century  Chemists,  Dept.  139, 

Century  Building,  Chicago: 

I  accept  your"No  Profit"  offer.  Please  send  me 
a  full -sized,  regular  $5.00  jar  of  Forty  Minute 
Beauty  Clay  at  the  net  laboratory  cost  price  of 
$1.87,  plus  postage,  which  I  will  pay  postman  on 
delivery.  My  money  back  unless  only  one  appli- 
cation proves  completely  satisfactory. 


Name. 


Address. 


Page  Sixty-Five 


SuADOWLAND 


Drama — Major  and  Melo' 


The  Cat  and  the  Canary.  National. — 
Good  excitement  and  suspense. 

Fools  Errant.  Maxine  Elliott's.— Thrill- 
ing situations  and  excellent  dialog. 

He  Who  Gets  Slapped.    Garrick.— The 


tragic    story    of    a    circus    clown.      Good. 

The  Monster.  Thirty-Ninth  St. — Grue- 
some and  horrifying. 

Whispering  Wires.  Forty-Ninth  St. — 
A   headliner   among   mystery   melodramas. 


Humor  and  Human  Interest 


Abie's  Irish  Rose.  Republic. — The  au- 
dience never   fails  to   laugh. 

Captain  Applejack.  Corf. — Excellent 
pirates-and-hidden-treasure  burlesque. 

The  Awful  Truth.  Henry  Miller's.— 
Ina  Claire's  new  play.     The  "best  yet. 

Dreams  For  Sale.  Playhouse. — Senti- 
mental entertainment. 

East  Side,  West  Side.  Nora  Baycs'.— 
Norman  Trevor  in  a  too-conventional  play. 

The  Endless  Chain.  George  M. 
Cohan's. — Margaret  Lawrence  in  a  play 
about  women  for  women. 

Her  Temporary  Husband.  Frazee. — 
Amusing  and  safe. 

Hunky  Dory.  Klaw. — A  wholesome 
comedy  of   Scottish  characters. 

Kempy.  Belmont.  —  A  very  human 
small-town  domestic  comedy. 


Kiki.  Belasco. — Lenore  Ulric  plays  the 
piquant  cocotte.    Excellent. 

The  Old  Soak.  Plymouth.— Those  who 
liked  Lightnin'  will  like  this. 

Partners  Again.  Sehvyn. — A  Potash 
and  Perlmutter  comedy. 

The  Plot  Thickens.  Booth.— A  fantas- 
tic farce  translated  from  the  Italian. 

Shore  Leave.  Lyceum. — Frances  Starr 
as  a  country  dressmaker,  and  James 
Rennie   as   a   gob. 

A  Serpent's  Tooth.  Little.  —  Marie 
Tempest  makes  it  worth  while. 

So  This  Is  London!  Hudson.— A  hit 
with  those  who   like   English  comedy. 

The  Torch  Bearers.  Vanderbilt. — A 
smart  farce,  well  acted. 

Why  Men  Leave  Home.  Morosco. — 
A  comedy  with  an  obvious  moral. 

Wild  Oats  Lane.  Broadhurst. — Maclyn 
Arbuckle  in  a  human,  sentimental  role. 


Melody  and  Maidens 


Better  Times.  Hippodrome.  —  Large, 
costly,  naive   and   pretty. 

Blossom  Time.  Ambassador.- — Franz 
Schubert's  life  set  to  his  own  music. 

Chauve-Souris.  Century  Roof. — Rus- 
sian entertainers   in  a  unique  program. 

Daffy  Dill.  Apollo.- — Frank  Tinney  as 
funny   as   ever. 

A  Fantastic  Fricassee.  Greenwich  Vil- 
lage.— The   title   expresses    it. 

The  Gingham  Girl.  Earl  Carroll's. — 
Both  old  and  young  will  like  this. 

Greenwich  Village  Follies.  Shicbert. 
— A  beautiful  spectacle  with  Savoy  and 
Brennan  to   provide   the  touch   of  humor. 


Molly  Darling.  Liberty. — Snappy,  tune- 
ful and  clean. 

The  Music  Box  Revue.  Music  Box. — 
As  smart  and  satisfying  as  the  one  last 
year. 

Orange  Blossoms.  Fulton. — A  good 
comedy  set  to  music. 

Sally,  Irene  and  Mary.  Casino. — An 
impudent,   fresh   little   musical   show. 

Sue,  Dear.  Times  Square. — See  com- 
ment on  Molly  Darling. 

The  Scandals  of  1922.  Globe.— Another 
hand  for  George  White,  please. 

The  Ziegfeld  Follies.  New  Amster- 
dam.— Amusing,   dazzling   and    distracting. 


The  Best  in  the   West 

A  list  of  last  yearns  successes  noiv  on  tour 


Anna  Christie.    Eugene   O'Neill  at  his 
best.    Worth   seeing. 

A    Bill    of    Divorcement.     A    serious 
drama,  well  acted. 

Bombo.    Good  music  and  new  jokes. 

Bulldog    Drummond.      A 
mystery  play  everyone  will  like. 
The     Circle.      An    excellent 
comedy  with  an  all-star  cast. 
The   Demi- Virgin.    An   un- 
derdone,    un- 
dressed   farce. 
Dulcy.  Dem- 
onstrating 
that    beauty 
triumphs   over 
brains. 

The  Gold 
Diggers.  A 
snappy,  color- 
ful comedy. 


Good  Morning  Dearie.    Excellent  mu- 
sical  entertainment. 

The    Hairy    Ape.    The    tragedy    of    a 
stoker.    Good. 

Lawful    Larceny.     A    crook 
melodrama. 

Nice   People.    A  comedy  of 
manners. 

Six    Cylinder    Love, 
A    domestic 
comedy     with 
a  moral. 

The  White 
P  e  a  c  o  c  k. 
Good  melo- 
drama, writ- 
ten and  star- 
red  by  P  e  - 
trova. 


Respecting  the  Amer- 
ican Theater 

{Continued  from  page  33) 

the  suspicion  that  husbands  are  falling  dead 
right  and  left  because  their  wives  will  insist 
on  acting. 

One  act  shows  a  rehearsal  of  an  amateur 
company,  and  gives  us  a  great  many  sure  and 
sharp  glimpses  into  the  pomps  and  vanities  cf 
the  sort  of  woman  who  frequently  takes  to 
directing  little  theater  productions.  The  second 
act  is  back-stage  at  the  performance,  and  it 
rejoices  in  everything  from  satire  to  good  old 
slapstick  hokum  about  the  accidents  of  a  first- 
night.  By  the  third  act,  Kelly  seems  to  get  a 
little  nervous  about  "the  theater."  He  isn't 
bolstered  up  by  the  uproarious  mirth  of  his 
audience  or  their  evident  appreciation  of  Alison 
Skipworth's  superb  performance  as  the  direct- 
ress and  of  the  good  work  of  most  of  the 
players  from  Mary  Boland  down.  Kelly  loses  the 
poise  proper  to  a  member  of  the  N.  V.  A.  Club, 
and  he  trots  out  some  extraordinarily  tedious 
stuff  about  the  bearing  of  the  little  theater 
movement  on  the  feelings  of  an  outraged  hus- 
band when  his  wife  goes  on  the   stage. 

But  there  is  no  pistol,  no  express  stock  hidden 
in  the  clock,  no  chorus  girl  vamp,  no  shortage 
and  no  false  suspicions.  Kelly  has  respect  for 
the  theater — or  is  it  experience? 

Respect  is  a  difficult  thing,  of  course.  There 
is  "A  Serpent's  Tooth,"  for  example,  Arthur 
Richman's  new  play.  The  presence  of  Marie 
Tempest  at  the  head  of  the  cast  ought  to  make 
you  feel  like  a  most  thankless  child  when  you 
discover  that,  somehow,  the  evening  isn't  an 
enjoyable  one.  Miss  Tempest's  art  or  personal- 
ity, or  whatever  hybrid  of  the  two  it  may  be, 
is  as  nearly  irresistible  as  anything  in  the  the- 
ater. It  shows  to  fine  advantage  in  the  comedy 
moments  of  this  play;  for  Richman's  picture  of 
a  doting  but  humorous  mother  is  capital.  Un- 
fortunately, he  calls  on  the  actress  for  a  tragic 
scene  or  two,  and  these  scenes  are  far  too 
tragic  in  the  lines  of  this  well-loved  face ;  it 
should  only  smile  and  smile  forever.  More- 
over, they  are  not  good  scenes  of  tragedy. 
They  are  conventional.  They  are  almost  as 
conventional  as  the  denouncement  in  which  the 
son,  caught  in  a  forgery  and  one  or  two  other 
things,  is  sent  off  for  one  of  those  English- 
drawing-room-comedy  "tests"  out  on  a  lonely 
ranch  where  no  temptations  live. 

Of  course,  "A  Serpent's  Tooth"  is  a  serious 
effort  at  making  our  drama  into  something 
better  than  a  collection  of  murder-mysteries  and 
small-town  comedies  with  a  dress-suit  finish. 
And  we  are  told  to  respect  it  for  that.  But 
it  is  really  growing  tedious — this  endless  ap- 
plauding, year  in  and  year  out,  _  of  the  first 
steps  of  the  infant  drama.  I  begin  to  suspect 
that  the  child's  a  moron.  Dont  try  to  con- 
found me  by  observing  that  "Peter  Pan"  was 
^another  case  of  arrested  development.  He 
could  have  grown  up  if  he  had  wanted  to. 

Returning  to  the  question  of  respect  for  the 
American  theater,  what  a  sad  light  it  casts 
over  the  pleasant  comicalities  of  Frances  Starr's 
newest  vehicle,  "Shore  Leave"  !  David  Belasco, 
of  all  the  managers,  ought  to  feel  that  his  art 
deserves  truth  instead  of  cheap  "points."  So 
far  as  the  actor  goes,  he  insists  on  faultless 
technique.  Miss  Starr  is  ever  so  charming, 
James  Rennie  makes  quite  a  gloriously  vulgar 
gob  for  her  little  dressmaker  to  fall  in  love 
with.  But  what  things  Belasco  lets  the  rest  of 
the  cast  do !  What  dreadful  and  sure-fire 
absurdities  he  and  they  and  the  author,  Hubert 
Osborne,   stoop  to ! 

"Shore  Leave,"  in  the  end,  serves  the  Ameri- 
can theater  no  better  purpose  than  to  let  me 
remark  that  it  is  a  Cape  Cod  comedy  well- 
calked  with  hokum. 

They  are  a  sorry  lot,  the  remaining  produc- 
tions of  that  part  of  the  season  dedicated  to  the 
out-of-town  buyer.  There  is  "The  Monster," 
for  example,  a  Grand  Guignol  horror-play.  It 
is  chiefly  notable  for  Wilton  Lackaye's  excel- 
lent acting,  and  for  a  moment  when  the  heroine 
screams  out :  "He  has  no  face !"  while  we  are 
all  observing  the  much  more  horrible  fact  that 
the  actor  who  has  put  a  mask  over  his  nose,  is 
(Continued   on  page  74) 


Page  Sixty-Six 


SUADOWLAND 


Our  Lyrical  Psycho-Realist 


(Continued  from  page  35) 


juxtaposition  of  roses  and  skulls.  It  has  more 
than  a  reminiscence  of  the  Masefield  of  "The 
Widow  in  the  Bye  Street"  and  "The  Ever- 
lasting  Mercy." 

All  the  more  astonishing  is  the  resemblance 
of  "Turns  and  Movies,"  Aiken's  second  book,  to 
Masters'  terse  epitaphs  in  the  "Spoon  River 
Anthology."  But  that  portion  of  Aiken's  vol- 
ume which  is  not  suggested  by  its  title  begins 
to  reveal  his  true  trend.  The  opening  of  "Dis- 
cordants,"  for  example,  has  a  melody  difficult 
to  forget,  a  haunting  minor  quality  all  his  own : 

Music    I   heard   with  you   was    more    than 

music, 
And  bread  I  broke  with  you  was  more  than 

bread ; 
Arow  that  I  am  without  you,  all  is  desolate; 
All  that  was  once  so  beautiful  is  dead. 

Your  hands  once  touched  this  table  and  this 
silver, 

And  I  have  seen  your  fingers  hold  this  glass. 

These  things  do  not  remember  you,  be- 
loved— 

And  yet  your  touch  upon  them  will  not 
pass. 

In  1916,  the  same  year  that  saw  the  publica- 
tion of  "Turns  and  Movies,"  there  appeared 
"The  Jig  of  Forslin,"  even  more  revelatory  of 
Aiken's  ultimate  course.  The  subject  of  the 
poem  is  a  typical  one  for  this  poet :  the  adven- 
turing of  the  soul  of  man  which  satisfies  vicari- 
ously the  dreamer's  avidity  for  experience.  The 
workmanship  here  is  uneven.  The  lurid  lights 
that  played  upon  "Earth  Triumphant"  shed  here 
and  there  a  fatal  glow.  But  here  Aiken  has  at 
least  discovered  the  subterranean  world  of  con- 
sciousness which  is  peculiarly  his  own  territory. 
Here  he  begins  his  own  spiritual  adventures  with 
a  surer  tread  than  when  he  walked  in  the  foot- 
steps of  other  poets. 

All  the  more  disappointing,  then,  is  it  to  find 
him  turning  backward  with  his  "Nocturne  of 
Remembered  Spring."  This  book  is  like  the  title 
of  one  of  the  poems  it  contains  :  "A  Sonata  in 
Pathos."  Practically  all  the  poems,  and  their 
titles  especially,  bear  out  the  suggestion  of 
musical  melancholy  which  the  Sonata  gives. 
There  is  a  "Meditation  on  a  June  Evening," 
"Discord,"  "White  Nocturne,"  "Nocturne  in  a 
Minor  Key,"  "Episode  in  Grey,"  "Innocence," 
"Dust  in  Starlight."  And  these  nocturnes  and 
dim  chiaroscuro  pictures  are  marked  by  an  over- 
stressed  note  of  gracile  grief,  the  cherished  sor- 
row of  the  adolescent  in  the  Spring,  the  soft 
sweet  lingering  sadness  of  a  reiterated  minor 
melody.  Here  is  that  Forslin  who  has  "surrend- 
ered his  soul  to  a  pleading  music."  Indeed,  the 
word  "music"  recurs  so  frequently  on  these 
pages  that  a  distracted  reader  loses  all  sense  of 
the  word's  significance.  It  is  like  hearing  one's 
favorite  tune  on  a  barrel-organ  in  every  street 
thru  which  one  passes  on  a  long  walk.  Yet 
amidst  all  this  weary  wailing,  sound  voices,  how- 
ever muffled,  which  remind  one  of  Aiken's  real 
preoccupation.  There  is  the  new,  unforgetable 
phrase  for  the  old  thought : 

The   eyes   of  death   look   out   thru   cherry 

blossoms; 
Death's  hand  is  on  the  bough  and  makes  it 

sweet. 

And  there  is  the  prevision  of  the  refrain  of 
"The  House  of  Dust" : 

In  a  harrowing  second  of  time 

To  traverse  so  many  worlds,  so  many  ages, 

And  come  to  this  chaos  again, 

This  vast,  symphonic  dance  of  death, 

This  incoherent  dust. 

In  "The  House  of  Dust,"  which,  while  pre- 
ceded in  print  by  "The  Charnel  Rose,"  was 
actually  written  first,  Aiken  returns  to  the 
method  of  "The  Jig  of  Forslin."  It  is  a  long 
poem  composed  of  various  narratives,  like  a 
lively  tapestry, whose  colors,  unfortunately,  have 
faded  to  a  dim  mysterious  lavender.  On  the 
whole  it  is  a  rounder  work  than  Forslin ;  it  cap- 
tures more  nearly  the  poet's  elusive  game.    And 


it  has  at  least  one  passage  which  at  once  gives 
the  key  to  the  poem  and,  one  is  inclined  to  be- 
lieve, to  the  philosophy  of  its  author : 

We  are  like  searchers  in  a  house  of  dark- 
ness, 

A    house    of    dust;    we    creep    with    little 
lanterns, 

Throwing    our   tremulous   arcs   of   light   at 
random, 

Now  here,  novo   there,  seeing   a   plane,   an 
angle, 

An  edge,  a  curve,  a  wall,  a  broken  stairway 

Leading    to   who    knozvs   zvhat;    but  never 
seeing 

The  whole  at  once.   .    .    .      We  grope  our 
way  a   little, 

And    then    groiv    tired.      No    matter    what 
we  touch, 

Dust    is    the    answer — dust :      dust    every- 
where. 

If  this  were  all — what  were  the  use,  you 
ask? 

But  this  is  not :     for  why  should  we   be 
seeking, 

Why  should  we   bring   this  need   to   seek  . 
for  beauty, 

To  lift  our  minds,  if  there  were  only  dust? 

The  best  Aiken  has  to  give  us  is  to  be  found 
in  the  book  for  which  "The  House  of  Dust" 
might  well  have  been  a  sketch,  namely,  "The 
Charnel  Rose."  The  title  poem  is  not  especially 
engaging.  It  is  true  that  in  this  poem  the 
author  has  found  a  strong  theme,  that  of  nym- 
pholepsy,  defined  by  him  "in  a  broad  sense  as 
that  impulse  which  sends  us  from  one  dream, 
or  ideal,  to  another,  always  disillusioned,  always 
creating  for  adoration  some  new  and  subtler 
fiction."  And  he  uses  this  theme  as  a  base 
"upon  which  one  might  build  wilfully  a  kind 
of  absolute  music."  The  theme  itself,  however, 
leads  Aiken  astray  into  paths  too  fantastic  to 
be  alluring,  while  his  constant  effort  to  teach 
his  poetry  to  usurp  the  place  of  music  destroys 
him  as  Lady  Macbeth's  urgings  destroyed  her 
famous   husband. 

It  is  "Senlin,"  the  opening  poem  of  the 
volume,  with  its  suggestive  juxtaposition  of  the 
significant  and  the  trivial,  its  clear  images,  its 
marvelous  dissolving  of  the  walls  of  reality 
into  the  mists  of  intense  dream,  that  shows  us 
Aiken  capturing  the  psychological  and  poetic 
actuality  which  so  long  escaped  him.  The  poem 
is  not  impeccable.  Harlots  and  demons,  violent 
purples  and  pale  violets  trip  thru  it  with  their 
destructive  touch.  But  it  remains  Aiken's  best, 
and  it  was  well  worth  waiting  for.  The  poem 
is  noted  as  containing  in  "The  Morning  Son 
of  Senlin"  one  of  the  finest  lyrics  of  our  time. 
But  it  is  rather  in  the  structure  of  the  whole, 
in  the  poet's  rare  sensitiveness  to  the  subtler 
states  of  consciousness,  and  his  vivid  expression 
of  shadowy  moods,  that  "Senlin's"  power  lies. 

This  marks  the  culmination  of  Aiken's  efforts 
to  uncover  same  of  the  secrets  of  human  con- 
sciousness. But  it  will  be  remembered  that 
"The  Jig  of  Forslin"  and  "The  House  of  Dust" 
showed  the  same  interest  if  not  the  same  suc- 
cess, and  his  latest  work  reveals  no  new  theme. 

"Punch,  the  Immortal  Liar,"  is  indeed  almost 
a  rewriting  of  "The  Jig  of  Forslin,"  tho  it  is 
doubtful  if  the  author  so  thinks  of  it.  Punch, 
far  more  truly  than  Forslin,  "is  not  a  man, 
but  Man."  The  technique  of  the  earlier  work 
— what  the  author  likes  to  call  harmony  and 
counterpoint — is  employed  here  with  almost 
equal  freedom.  It  is  a  maturer  piece.  There 
are  fewer  lapses  into  monotonous  music,  rare 
explosions  into  youthful  crudities.  The  blank 
verse,  which  is  a  form  seldom  employed  by 
Aiken,  seems  particularly  fortunate.  More- 
over, Punch  makes  lively  reading.  Yet  in 
spite  of  these  several  excellences,  it  falls  short 
of  its  fine  predecessor.  If  Aiken  believes  that 
"poetry  to  be  poetry  must  after  all  rise  .  .  . 
to  this  sort  of  piercing  perfection  of  beauty  or 
truth,  phrased  in  a  piercing  perfection  of 
music,"  it  is  only  in  "Senlin"  that  he  has  written 
poetry    with    anything    like    a    sustained    effect. 

Again  and  again,  running  thru  his  prose 
critiques,  one  comes  upon  a  telling  phrase,  an 
(Continued  on  page  75) 


^trtSkt 


'An  Old 

Family  Secret 

|ASKING  under  the  blue  skies 
of  sunny  Italy  centuries  ago  was 
a  beautiful  maid,  reflecting  in 
her  cheeks  the  color  and  warmth 
of  her  native  land.  She  had  finished  her 
toilette  and  was  admiring,  by  the  aid  of 
a  hand  mirror,  the  magic  effects  produced 
by  the  application  of  that  formula  which 
had  been  a  guarded  secret  in  her  family 
for  generations. 

Ah !  If  other  maids  but  knew  the  secret' 
what  rivals  in  beauty  she  would  have' 
Science  has  solved  her  secret. 

SEM-PMY 
JO'VE'NdV 

Sempre 
Giovine 


DMi 


eanm 


nJ 


jilwaysyouna 


*2^; 


EePA 
,  l  vpmplexion-^ake 


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nor  a  soap  but  a  combination  6kin 
nourisher,  cleanser,  beautifier — made  in 
cake  form  of  pure  oils,  which  have  a 
close  affinity  to  the  natural  oils  of  the  skin. 

I  Applied  to  your  face  at  night,  it  soften9 
I  the  secretions  and  thoroughly  cleanses 
the  pores  of  the  dust  and  grime  of  the 
day,  producing  a  satiny  smoothness,  and 
the  freshness  and  bloom  of  youth.  "Al- 
ways Young,"  indeed,  is  the  girl  or 
woman  who  uses  Sem-pray  Jo-ve-nay. 

Send  your  name  and  address  for  seven- 
day  trial  size  cake  free.  Bring  charm 
and  loveliness  to  your  skin. 

Full  size  packages  at  all  good  toilet  counters. 

The  Sem-Pray  Jo-ve-nay  Co. 

Dept.  1328 
Grand  Rapids,  Mich.  — - — 


C 


==S^:[ 


A  Powder 

Foundation 

—  50v 


Exquisitely 

Perfumed 

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Natural 
HealthTina 
—  50c 


Page  Sixty-Seven 


SuADOWLAND 


It  had  never 
occurred  to  him 

HE  seemed  to  have  all  of  the  qualifica- 
tions for  business  success — a  pleasing 
personality,  good  education,  the  ability  to 
make  and  hold  friends.  He  was  a  good 
judge  of  people;  he  knew  how  to  measure 
a  situation ;  he  was  alert,  aggressive, 
ambitious. 

Yet,  somehow  or  other,  he  didn't  advance 
in  business  as  he  should  have — as  he  and 
his  friends  expected  and  hoped  he  would. 
Something  seemed  to  stand  in  his  way.  It 
puzzled  and  disheartened  him. 

The  thing  that  held  him  back  was  in  it- 
self a  little  thing.  But  one  of  those  little 
things  that  rest  so  heavily  in  the  balance 
when  personalities  are  being  weighed  and 
measured  for  the  bigger  responsibilities  of 
business. 

Halitosis  (the  medical  term  for  unpleas- 
ant breath)  never  won  a  man  promotion  in 
the  business  world — and  never  will.  Some 
men  succeed  in  spite  of  it.  But  usually  it 
is  a  handicap.  And  the  pathetic  part  of  it 
is  that  the  person  suffering  from  halitosis 
is  usually  unaware  of  it  himself.  Even  his 
closest   friends   don't   mention   it. 

Sometimes,  of  course,  halitosis  arises 
from  some  deep-rooted  organic  disorder ; 
then  professional  help  is  required.  Smoking 
often  causes  it,  the  finest  cigar  becoming 
the  offender  even  hours  after  it  has  given 
the  smoker  pleasure.  Usually — and  for- 
tunately, however — halitosis  yields  to  the 
regular  use  of  Listerine  as  a  mouth-wash 
and  gargle. 

Recognized  for  half  a  century  as  the  safe 
antiseptic,  Listerine  possesses  properties 
that  .quickly  meet  and  defeat  unpleasant 
breath.  It  halts  food  fermentation  in  the 
mouth,  and  leaves  the  breath  sweet,  fresh 
and   clean. 

Its  systematic  use  this  way  puts  you  on 
the  safe  and  polite  side.  Then  you  need  not 
be  disturbed  with  the  thought  of  whether 
or  not  your  breath  is  right.    You  knoiv  it  is. 

Your  druggist  will  supply  you.  He  sells  a 
great  deal  of  Listerine.  For  it  has  dozens  of 
different  uses  as  an  antiseptic.  Note  the 
booklet  with  each  bottle. — Lambert  Phar- 
viacal  Company,  Saint  Louis,  U.  S.  A. 


Our  Novels  as  Mirrors 


(Continued  from  page  20) 


HALITOSIS 

use 

LISTERINE 


passed  some  bills  that  ought  to  completely  out- 
law the  socialists!  And  there's  an  elevator-run- 
ners' strike  in  New  York  and  a  lot  of  college 
boys  are  taking  their  places.  That's  the  stuff ! 
And  a  mass-meeting  in  Birmingham's  demanded 
that  this  Mick  agitator,  this  fellow  De  Valera, 
be  deported.  Dead  right,  by  golly!  All  these 
agitators  paid  with  German  gold  anyway.  And 
zve  got  no  business  interfering  with  the  Irish 
or  any  other  foreign  government.  Keep  our 
hands  strictly  off.  And  there's  another  well- 
authenticated  rumor  from  Russia  that  Lenin  is 
dead.  That's  fine.  It's  beyond  me  vnhy  we  dont 
just  step  in  there  and  kick  those  Bolshevik 
cusses  out. 

This  is,  we  know,  an  exact  transcript  of 
the  sort  of  illogical 
nonsense  offered  as 
opinion  all  around 
us  every  day. 
Babbitt  and  his  pro- 
totypes in  life,  living 
upon  opinions,  catch- 
words and  slogans 
derived  from  a 
multiplicity  of 
sources,  analyzing 
none  of  them,  think- 
ing not  at  all  but 
never  suspecting 
they  are  not  think- 
ing, are,  by  the  very 
hasty  confusion  of 
their  accepted  ideas, 
incapable  of  recog- 
nizing, for  instance, 
the  bad  logic  of 
"We've  got  no  busi- 
ness interfering  with 
the  Irish  or  any 
other  foreign  gov- 
ernment" and  "It's 
beyond  me  why  we 
dont  just  step  in 
there  and  kick  those 
Bolshevik  cusses 
out." 

By  a  judicious 
selection  of  repre- 
sentative material 
from  newspaper 
columns,  advertise- 
ments, political  cam- 
paigns, business 
boosting  "literature," 
and  club,  cafe, 
home,  and  Pullman 
smoker  conversation, 
Mr.  Lewis  has  suc- 
ceeded in  throwing 
into  satiric  relief  the 
shoddy  assortment 
of  cheap  platitudes 
and  idiocies  that  peo- 
ple mouth  and  be- 
lieve and  even  stake 
their  lives  upon. 
None  of  us  can,  with 
whole-hearted  hon- 
esty, say  we  are  not 
the  victims  of  this 
disposition  to  clutter 
up  our  minds  with 
specious  notions  in- 
stead of  thinking 

things  out  log''cally  for  ourselves.  Try  as 
we  may  to  assert  and  maintain  our  intellec- 
tual independence,  we  are  pressed  by  the 
weight  of  mass  opinion  now  and  then  into  the 
easy  path  of  group  beliefs  and  we  find  our- 
selves, perhaps  often  with  a  start,  voicing  opin- 
ions and  platitudes  we  know,  on  examination,  to 
be  false  or  outworn.  It  is  for  that  reason  that 
Babbitt  is,  essentially,  a  sympathetic  figure. 
Babbitt  himself  is,  in  some  respects,  Mr.  Lewis 
himself,  and  he  is,  in  some  respects,  you  and  you 
and  you  and  the  writer  of  these  words  .  .  . 
No  less,  this  mirror  of  ourselves  is  not  flatter- 
ing. It  is  amusing,  funny  even,  but  we  have 
no  right  to  congratulate  ourselves  on  oddities, 
however    provocative    of    mirth.     Beneath    the 


Recommended  Novels 

Shadowland  recommends  the  fol- 
lowing books  to  the  attention  of  its 
readers : 

"Babbitt,"   by    Sinclair   Lewis.      Harcourt, 

Brace  &  Co. 
"One  of  Ours,"  by  Willa  Cather.     Alfred 

A.  Knopf,  Inc. 
"The    Red    Shawl,"    by    Joseph    Herges- 

heimer.     Alfred  A.  Knopf,  Inc. 
"Lilian,"   by   Arnold    Bennett.    George   H. 

Doran  Co. 
"The   Three   Lovers,"   by  Frank   Swinner- 

ton.    George  H.  Doran  Co. 
"One  Thing  Is  Certain,"  by  Sophie  Kerr. 

George  H.  Doran  Co. 
"The    Illusion,"    by    Raymond    Escholier. 

G.  P.   Putnam's   Sons. 
"Bennett     Malin,"     by     Elsie     Singmaster. 

Houghton,  Mifflin  Co. 
"Babel,"  by  John  Cournos.     Boni  &  Live- 
right. 
"Gigolo,"    by    Edna    Ferber.     Doubleday, 

Page  &  Co. 
"Down  the   River,"  by   Roscoe  W.   Brink. 

Henry  Holt   &   Co. 
"Ocean  Echoes,"  by  Arthur  Mason.   Henry 

Holt  &  Co. 
"Love    and    Friendship,"    by   Jane    Austen. 

Frederick  A.  Stokes  &  Co. 
"Rita  Coventry,"  by  Julian  Street.    Double- 
day,  Page  &  Co. 
"The  Optimist,"  by  E.  M.  Delafield.    Mac- 

millan. 
"Anne  Severn  and  the  Fieldings,"  by  May 

Sinclair.     Macmillan. 
"The    Tale    of    Triona,"    by    William    J. 

Locke.     Dodd,  Mead  &  Co. 
"Count      Morin,      Deputy,"      by      Anatole 

France.     Dodd,  Mead  &  Co. 
"The     Red     Knight,"     by     Francis     Brett 

Young.     E.  P.  Dutton  &  Co. 
"Captain     Blood,"     by     Rafael     Sabatini. 

Houghton,  Mifflin  Co. 
"Intrusion,"     by     Beatrice     K.     Seymour. 

Thomas   Seltzer. 
"Gargoyles,"  by  Ben  Hecht.     Boni  &  Liver- 

right. 
"Flowing   Gold,"  by   Rex   Beach.     Harper 

&  Brothers. 


mirth  there  must  be  some  slight  poignant  re- 
gret that  our  lives  are  not  nobler  and  more 
beautiful. 

That  regret  came  to  George  F.  Babbitt,  suc- 
cessful real  estate  operator,  hundred  per  cent. 
American,  and  respectable  citizen  of  the  com- 
munity, in  the  form  of  a  contract  that  lifted 
him  out  of  his  self-complacency  and  set  him 
upon  the  dangerous  highroad  of  introspection 
and  of  examination  into  the  views  and  actions 
of  others.  He  achieved  a  second  blooming  of 
aspiration  and  desire,  but  they  were,  inevitably, 
pale  and  puny  flowers.  They  were  blighted  by 
the  arid  soil  and  hostile  atmosphere  of  social 
and  business  taboos  and  they  withered,  ironic- 
ally, in  Babbitt's  own  uncouth  and  clumsy  hands. 
The  Babbitts  may 
sense  and  aspire  to 
beauty,  poise  and 
symmetry,  but  to 
achieve  it,  hold  and 
cherish  it,  require 
greater  capabilities, 
unhappily,  than  they 
possess.  Therein  lie 
the  tears  of  things. 
And  in  the  lives  of 
Babbitts  there  is  a 
pathetic  beauty  even 
if  they  know  it  not. 
Mr.  Lewis  has 
shown  it  to  us. 

A.  S.  M.  Hutchin- 
son's "If  Winter 
Comes"  bored  me 
beyond  endurance 
and  I  forsook 
his  •  sentimental  re- 
cital of  the  sweet 
miseries  of  a  good 
but  misunderstood 
man  somewhere 
about  the  middle  of 
the  book.  His  new 
novel,  "This  Free- 
dom," I  pursued  to 
the  final  page,  thru 
the  exasperations  of 
a  stilted,  sophomoric 
style  in  an  effort  to 
assure  myself  in  my 
fancied  reasons  for 
the  enormous  popu- 
larity of  Mr.  Hutch- 
inson's books.  I 
am  in  doubt.  Grant- 
ed that,  in  "If  Win- 
ter Comes"  he  chose 
a  theme  which  has 
immemorably  been 
loved,  and  cherished 
and  applauded  since 
it  was  first  set  forth 
in    the    first    of    the 


synoptic  Gospel,  i.  e., 
the  story  of  the  hum- 
ble but  courageous 
soul  who  suffers  for 
the  sins  of  others, 
forgiving  them  for 
they  know  not  what 
they  do — granting 
that,  I  fail  to  account 
for  the  patience  of 
readers  who  can  fol- 
low such  a  story  with  interest  thru  a  narrative 
method  which  balks  the  interest  on  every  page. 
His  style  is  like  that  of  a  freshman  who  tries 
to  be  "literary."  It  is  made  up  of  involved  and 
redundant  compound  sentences,  vague,  unnatural 
parts  of  speech,  exclamations  that  are  not  excla- 
mations— in  fine,  the  hardest  sort  of  reading  I 
ever  encountered  outside  of  a  stiff  scientific 
treatise.  The  story  of  "This  Freedom"  is  also  a 
sure-fire  one,  and  the  probabilities  are  that  its 
vogue  will  be  as  great  as  its  predecessor.  In 
"This  Freedom"  the  author  plays  a  dolorous 
variation  on  the  theme  of  "Home  and  Mother." 
It  is  hackneyed  and  Mr.  Hutchinson's  fiddle  is 
squeaky  and  out  of  tune,  but  it  will,  I  suspect, 
bring  the  customary  tears  and  conversions. 


Page  Sixty-Eight 


SUADOWLAND 


Painting  Scenery  with  Light 


(Continued  from  page  45) 


equipment  called  the  Ars  System  by  the  Swed- 
ish company  that  controls  the  patents  for  its 
exploitation  abroad.  The  basis  of  the  sys- 
tem is  a  canvas  cyclorama.  This  cyclorama 
runs  on  a  semi-circular  track  hung  from  the 
gridiron  high  above  the  stage.  At  one  end 
of  the  track  is  a  great  roller  upon  which  the 
cyclorama  may  be  wound  up,  to  get  it  out  of 
the  way  during  an  elaborate  change  of  scene. 
It  takes  only  half  a  minute  for  the  cyclorama 
to  be  run  out  on  the  track  ready  for  use.  The 
track  itself  may  be  swung  downward  from  its 
two  front  corners  to  permit  particularly  large 
drops  to  be  hoisted  or  lowered ;  but  it  is  wide 
enough  and  deep  enough  not  to  interfere  with 
the  ordinary  use  of  the  gridiron.  The  cyclo- 
rama is  made  of  common,  light  canvas,  but  it 
is  so  cut  and  joined,  and  hung  on  a  slight  slant 
that  it  takes  up  of  itself  the  bulges  and  wrinkles 
ordinarily  produced  in  our  cyclorama  by  a 
change  in  the  weather.  The  invention  is  in 
dispute  between  those  ancient  but  courteous 
rivals,  Hasait   and   Linnebach. 

With  this  cyclorama  goes  an  elaborate  sys- 
tem of  lighting.  There  are  floor  lamps  con- 
tained in  wheeled  chariots  to  illuminate  the 
bottom  of  the  cyclorama.  Above  the  pro- 
scenium opening  hangs  a  battery  of  different 
colored  lights — seventy-two  in  the  Stockholm 
State  Opera — which  play  directly  upon  the 
cyclorama,  and  three  high-powered  bulbs  to 
light  the  stage  floor.  Besides  these,  the  Ars 
System,  as  installed  at  Stockholm,  includes 
three  special  projection  devices,  also  hung  above 
the  proscenium,  all  the  adjustments  of  which 
are  controlled  electro-magnetically  from  the 
switchboard.  One  of  these  is  the  large  cloud- 
machine,  an  arrangement  of  two  tiers  of  eight 
lamps  each,  raying  out  from  a  common  axis. 
These  tiers  can  be  moved  at  different  speeds 
and  in  different  directions,  while  each  lamp 
can  be  turned  up  and  down  and  sideways  at 
will.  These  projectors  each  house  a  six  thou- 
sand candle-power  bulb  and  hold  a  photograph 
or  drawing  of  a  cloud.  The  complex  motion 
of  these  static  clouds  when  projected  on  the 
cyclorama  gives  an  effect  of  ever-varying  cloud 
formations.  Almost  absolute  realism  can  thus 
be  obtained.  A  second  smaller  and  less  flexi- 
ble cloud-machine  with  a  single  central  lamp 
and  reflecting  mirrors  is,  for  some  reason,  in- 
cluded in  the  equipment. 

Transparent  Projections 

Besides  these  cloud  machines  there  is  a  battery 
of  three  high-powered  bulbs  and  lenses,  by 
means  of  which  designs  painted  on  glass  slides 
can  be  projected  after  the  fashion  of  a  magic 
lantern  upon  the  cyclorama  or  any  object  on 
the  stage.  This  is  the  really  important  feature 
of  the  Ars  System  from  an  artistic  standpoint. 
Its  possibilities  are  extraordinary.  Harald 
Andre,  chief  regisscur  of  the  Stockholm  Opera, 
has  experimented  little  as  yet  with  this  device, 
utilizing  it  only  in  one  ballet.  But  he  has 
speculated  much  on  the  opportunities  that  it 
presents  for  uniting  a  large  group  of  theaters, 
similarly  equipped,  in  the  exchange  of  setting 
designs  for  the  productions  in  their  repertory. 
Andre  believes  that  the  economy  of  projected 
scenery  is  important  artistically  as  well  as 
financially,  because  it  will  admit  of  experiment 
with  many  new  works  at  slight  expense,  and 
of  the  rapid  reproduction  of  the  successful 
productions  in  many  cities  at  once. 

From  the  absolute  artist  viewpoint  of  the 
effect  obtained,  projection  is  satisfactory  tho 
as  yet  almost  undeveloped.  Americans  who  saw 
the  transparent  projections  of  Simonson's  de- 
signs of  Back  to  Methuselah  realized  how  little 
these  drops  had  the  visual  disadvantages  of  the 
painted  variety.  They  enjoyed  a  certain  incor- 
poreal quality.  The  landscapes  were  not  de- 
fined like  huge  oil  paintings  in  false  perspective. 
They  went  into  some  new  category  which,  for 
the  moment,  defeated  our  analysis.  Such  pro- 
jections may  jn  time  take  on  the  shallow  pre- 
tense of  painted  backdrops,  tho  I  am  inclined 
to  doubt  it. 

In  the  case  of  the  Valhalla  of  Das  Rheingold, 
as  projected   in  Linnebach' s   production  at   the 


National  Theater  in  Munich,  the  ethereal  qual- 
ity of  this  kind  of  scene  "painting"  again  stands 
out.  The  scene  is  most  successful  when  the 
lighting  is  dimmest.  In  the  central  portions 
of  the  second  and  fourth  scenes,  when  the  stage 
is  fully  lighted,  the  image  of  Valhalla  holds  its 
own  against  the  illumination  of  the  foreground, 
but  the  foreground  itself  fails  dismally  to  match 
the  beauty  of  the  gods'  castle.  When  the  plastic 
foreground  is  not  to  be  seen,  Valhalla  hangs  in 
the  heavens  like  one  of  the  shapes  of  Wilfred's 
Color  Organ,  a  thing  that  seems  to  have  three 
dimensions.  When  the  lights  upon  the  stage 
floor  bring  out  the  rocks  of  the  foreground, 
Valhalla  loses  the  reality  of  three  dimensions. 
It  still  seems  truer  as  well  as  more  beautiful 
than  the  rocks  in  front ;  in  fact  it  shows  up 
pitilessly  the  trivial  canvas  life  of  those  boul- 
ders ;  but  it  loses  the  impression  of  depth  which 
it  had  at  first  created.  It  was  doubtless  a  false 
impression,  a   foolish   illusion. 

The  Cloud  Machine  in  Use 

The  projected  setting  is  certainly  in  another 
dimension  spiritually  from  those  two  ordinarily 
employed  in  old-fashioned  scene-painting.  It  is 
not  in  any  of  the  planes  of  stage-rocks  or 
houses.  It  does  not  war  with  the  human  figure, 
curiously  enough.  It  seems  likely  that  the  art- 
ist or  director  using  projected  design  must 
formalize  his  foreground,  as  Simonson  did,  or 
else  hide  its  commonplace  actuality  in  shadow. 

Ordinary  stage  pretenses  cannot  stand  beside 
the  spiritual  plastics  produced  by  light. 

As  for  the  cloud-machine,  so  long  as  it  is 
trying  merely  to  reproduce  nature  it  is  utterly 
unimportant.  Something  imaginative  must  be 
done  with  it  before  it  can  expect  serious  con- 
sideration. In  the  productions  of  Andre  at  the 
Stockholm  Opera  there  are  at  least  two  hints 
that  the  cloud-machine  can  be  used  for  the 
purposes  of  art.  One  of  these,  rather  poorly 
managed,  is  the  use  of  designed  clouds  instead 
of  natural  clouds  in  one  of  the  scenes  of  Sam- 
son and  Delilah.  The  other,  not  perfectly  ex- 
ecuted by  any  means,  but  most  suggestive,  oc- 
curs in  Verdi's  Macbeth.  There,  in  the  first 
scene,  Andre  sets  a  wild  storm-sky  in  motion. 
He  uses  negative  or  black  photographs  of  clouds 
instead  of  positive  or  white,  and  he'  sets  them 
in  motion  from  on  high  and  at  the  sides,  sweep- 
ing in  and  down  upon  the  witches.  As  these 
dark  shapes  descend  in  tumult,  it  seems  as  tho 
the  black  earth  were  drinking  black  clouds, 
curious  and  evil  portent  of  the  powers  of  the 
infernal. 

Movement  in  projection  has  obviously  great 
possibilities  as  part  of  the  action  of  the  new 
drama.  In  Kaiser's  expressionistic  play,  From 
Morn  Till  Midnight,  produced  by  the  Theatre 
Guild,  Simonson  used  Linnebach's  lantern  to 
make  the  tree  in  the  snow  scene  change  into 
a  skeleton,  an  effect  that  Kaiser  was  able  to 
foresee  onry  as  a  shifting  of  snowflakes  upon 
naked  boughs. 

Light  itself  seems  destined  to  assume  a  larger 
and  larger  part  in  the  drama.  It  is  a  playing 
force,  quite  as  much  as  the  actors.  It  can  be 
a  motivator  of  action  as  well  as  an  illuminator 
of  it.  Jessner  of  the  State  Schauspielhaus  in 
Berlin  uses  it  as  an  arbitrary  accompaniment 
and  interpreter  of  action.  Lights  flash  on  or 
off  as  some  mood  changes.  They  create  shadows 
to  dramatize  a  relation  of  two  men.  They 
seem  to  control  or  to  be  controlled  by  the 
action. 

The  possibilities  are  extraordinary.  Light  as 
the  compelling  force  of  a  play ;  light  as  a  moti- 
vator of  action ;  light  and  setting,  not  as  a  back- 
ground to  action,  but  as  part  of  it,  as  some- 
thing making  characters  exist  and  act;  light  as 
an  almost  physical  aura  of  human  bodies ;  light, 
therefore,  in  conflict. 

If  light  can  do  such  things,  even  if  it  can  do 
no  more  than  set  Valhalla  glowing  in  the 
heavens,  it  will  take  a  place  in  the  theater  that 
no  other  product  of  inventive  ingenuity  can 
reach.  Light,  at  the  very  least,  is  machinery 
spiritualized. 


«Jnr.  \ 


SPORT  WEAR  AND 
STREET   APPAREL  FOR  WOMEN 

We  are  constantly  showing  Charming 
New  Lonsdale  Creations  in  Smartest 
Sport  Clothes,  Distinctive  Knitted 
Costumes,  and  Street  Apparel — 
final     in     Style,     Fit,     and     Tailoring. 

Reasonable  Prices 
Correspondence    Solicited 

677  FIFTH  AVENUE,  NEW  YORK 

Bet.    53rd    and    54th    Streets 


The  Flapper 

The   School  Girl 

The    Society    Belle 

The  Rich  Girl 

The   Middle-Aged    Lady 

The    Actress 

The  Movie  Star 

The    Shop  Girl 

The   Old  Lady 

The    Heiress 

The  Debutante 

The   Poor   Girl 

All  these  read    /]* 

JeeruCy 

s-stands 

On  All  New 

=K 


o^Make  Your  Little  Qirl 
Jiappy 

<—ioith  an 

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NECKLACE 

The  family  and  friends 
nvill  keep  it  growing-' 

ASK.    YOUJ^.      JEWELEIU 


Page  Sixty-Nine 


SUAOOWIAND 


iJi^SiSI 


so 


Start  a 
Beauty  Parlor 

In  Your  Own  Home  and 

Make  Money 

Wherever  you  may  live, 
whether  in  a  small  town  or  a 
big  city,  there  are  in  your 
neighborhood  many  who  are 
troubled  with  superfluous  hair, 
moles,  warts,  birthmarks,  etc., 
and  you  know  that  electrolysis 
is  the  only  method  of  perma- 
nently removing  them.  You 
can  get  a  large  part  of  this 
trade  by  securing  an  Electroly- 
sis Outfit  and  learning  how  to 
operate  with  the  simple  direc- 
tions accompanying  it.  Any- 
body can  leant  to  do  it.  It 
requires  no  knowledge  of  elec- 
tricity or  of  physiology.  You 
can  operate  in  your  own  home, 
because  all  you  require  is  good 
light,  two  chairs  and  a  table. 
Or  you'  can  operate  in  the 
homes  of  your  customers,  be- 
cause the  outfit  can  be  carried 
in  a  small  hand  valise.  The 
usual  charge  for  removing  su- 
perfluous hair  is  $5.00  for  half 
an  hour's  treatment,  and  there 
are  very  few  places  in  this 
country  where  you  can  get  it 
done  at  any  price.  I  will  send 
an  Electrolysis  Outfit,  prepaid, 
to  any  address  on  receipt  of 
price,   $20.00. 

If  you  wish  to  take  up  other 
branches  of  Beauty  Parlor 
work,  I  will  undertake  to  teach 
by  correspondence  the  follow- 
ing courses  on  receipt  of  price: 

Facial   Massage    $2.00 

Shampooing     2.00 

Eyebrows  and  Lashes.    1.00 

Reducing 2.00 

Wrinkles   1.00 

Facial  Mud  Bath 1.00 

Manicuring 3.00 

.PimpleSj    Blackheads, 

etc 1.00 

Double  Chin    1.00 

Body  Massage   1.00 

All  Ten  Courses  for  $10.00 

Each  course  includes  complete  direc- 
tions in  simplified  form.  Nearly  all  of 
the  ingredients  required  can  be  pur- 
chased at  any  drug  store,  such  as 
tweezers,  bowls,  saucers,  witch-hazel, 
glycerine,  cold  cream,  etc.,  except  the 
mud  bath,  which  is  my  own  secret 
preparation ;  but  I  will  make  a  special 
price  on  this  and  on  all  my  prepara- 
tions, if  my  pupils  prefer  them  to  others. 

This  is  an  Age  of  Beauty 

In  a  few  years  you  will  see  Beauty 
Shops  everywhere.  Learn  the  business 
now !  Start  in  a  small  way,  and  some 
day  you  may  own  a  handsome  Beauty 
Parlor  on  the  main  street,  with  dozens 
of  girls  doing  the  work  for  you.  There's 
Big  Money   in    it! 

CORLISS  PALMER 

Brewster  Buildings,  Brooklyn,  N.Y. 


m 
s 


m 


an 


Operatic  Anticipations 

(Continued  from  page  25) 


Page  Seventy 


composer  himself  conducting.  What  the  gen- 
eral Director  and  Chairman  of  Committee  of 
the  Metropolitan  thought  of  it  has  not  been 
made  known  but  one  has  a  shrewd  idea  that 
"Salome"  will  not  be  done  at  the  Metropolitan 
this  season. 

Clarence  Mackay,  who  joined  the  committee 
of  the  Metropolitan  last  season,  is  strongly 
opposed  to  the  revival  of  the  Wilde-Strauss 
opera,  and  several  subscribers  have  also  made 
known  their  objections.  Jeritza,  who  incident- 
ally in  private  life  is  the  Baroness  von  Popper, 
in  her  eagerness  to  sing  the  role,  went  so  far 
as  to  tell  a  New  York  reporter  that  people 
quite  misunderstood  Salome's  character ;  that 
she  was  wayward  rather  than  vicious,  and  that 
she  simply  cried  for  the  Baptist's  head  as  a 
child  would  cry  for  a  new  doll. 

Which  prompted  a  Broadway  rhymester  to 
pen   the    following : 

The   beautiful    Baroness    Popper 
Says    that    Salome   isn't    improper; 

She     is     only     a     child, 

Just    a    little   bit    Wilde, 
So   why   should   the    opera    drop    her? 

Speaking  of  Salome  reminds  us  that  New 
Yorkers  will  have  at  least  one  opportunity  of 
hearing  Strauss's  opera  this  season,  for  the 
enterprising  Fortune  Gallo,  who  has  taken  the 
Century  Theater  for  the  annual  Fall  season  of 
the  San  Carlo  Opera  Company,  will  present 
the  Junoesquely  beautiful  Anna  Fitziu  as  the 
naughty  daughter  of  Herodias.  She  has  been 
Studying  the  music  all  summer,  and  will  sing 
it  in  Italian. 

Among  new  works  to  be  heard  at  the  Metro- 
politan this  season  is  "Anima  Allegra,"  by 
Franco  Vittadini,  the  book  based  on  an  amus- 
ing comedy  by  the  Brothers  Quintero.  It  is, 
according  to  reports,  a  light  little  work,  full 
of  vivacious  melody  and  exceptionally  well 
scored.  Lucrezia  Bori  will  most  probably 
create  the  principal  soprano  role. 

A  new  German  opera  to  be  given  this  sea- 
son is  Max  Schilling's  "Mona  Lisa,"  the 
libretto  by  Beatrice  Dowsky.  Jeritza  will  play 
the  name  part  in  this,  which  certain  German 
critics  have  hailed  as  a  superlative  work  of 
genius.  But  they  did  the  same  with  regard  to 
Eric  Korngold's  "Die  Tote  Stadt,"  and  so  our 
attitude  must  be  that  of  the  man  from  Missouri. 

As  to  revivals,  we  are  promised  not  only 
"Tannhseuser,"  but  there  is  a  possibility  that 
we  shall  hear  "Rheingold,"  and  there  are  dark 
rumors  of  "The  Ring."  Another  welcome  re- 
vival will  be  "Rosenkavalier,"  in  which  it  may 
be  hoped  we  shall  hear  Frances  Alda  in  the 
part  originally  played  here  by  Freda  Hempel. 
Madame  Alda  suffers  rather  than  gains  from 
the  fact  that  she  is  the  wife  of  the  General 
Director,  for,  in  his  scrupulous  care  to  avoid 
a  suggestion  of  favoritism,  she  does  not  get  all 
the  parts  she  deserves,  altho  she  is  a  beautiful 
singer.    Jeritza  is  to  play  Octavian. 

What  may  prove  a  sensational  engagement, 
if  all  reports  be  true,  is  that  of  Ina  Bourskaya, 
former  star  of  the  Russian  Grand  Opera 
Company.  She  made  a  tremendous  hit  during 
the  last  Ravinia  Park  Summer  season  of 
opera,  and  is  described  by  good  judges  as  the 
greatest  Carmen  since  Calve.  She  has  been 
engaged  both  by  the  Metropolitan  and  Chicago 
Opera  Companies  for  a  series  of  special  per- 
formances. 

Gounod's  "Romeo  et  Juliette"  is  to  be  revived, 
with,  almost  of  course,  Galli-Curci,  and  very 
probably  Edward  Johnson.  The  engagement 
of  the  latter  Canadian-American  tenor  is  dis- 
tinctly a  matter  for  congratulation.  Thanks 
to  Muratore  and  the  jealousies  which  honey- 
combed the  Chicago  company,  and  with  which 
Mary  Garden  found  herself  powerless  to  cope, 
Edward  Johnson  has  never  had  a  fair  chance 
in  the  United  States  since  his  return  from 
Italy,  where  he  was  a  popular  idol  and 
leading  tenor  of  La  Scala  under  the  name 
of  Edouardo  di  Giovanni.  His  Avito  in 
"L'Amore  dei  Tre  Re"  is  magnificent,  and  the 
composer  Montemezzi,  declared  that  Johnson 
was  the  finest  singer  he  had  heard  in  the  part. 

Of  the  occasion  of  his  first  appearance  in 
Chicago  in  "Fedora"  some  three  years  ago, 
Edward  Johnson  redeemed  that  vapid  work  by 
his    splendidly    artistic    singing    and    acting    as 


Loris  Ipanoff.  Let  us  hope  that  Gatti-Casazza, 
having  secured  a  really  first  class  romantic 
tenor,  one  who  can  act  as  well  as  sing,  will 
make  the  best  use  of  him. 

Two  interesting  Italian  revivals  are  those 
grandiose  and  ponderous  operas  "L'Africaine," 
by  Meyerbeer,  and  Rossini's  "William  Tell," 
both  of  which  give  great  opportunity  for 
scenic  splendor.  A  new  Italian  dramatic  tenor, 
Giacomo  Lauri-Volpi,  is  likely  to  be  heard  in 
both.  He  is  a  robust  singer  who  has  made  a 
big  success  at  leading  South  American  opera 
houses,  and  it  is  said  that  he  can  make  the 
welkin  ring  after  the  manner  of  the  stentorian 
Tamagno. 

Chaliapin  will  repeat  his  memorable  imper- 
sonation of  Boris,  and  may  also  be  heard  in  a 
revival  of  "Ivan  the  Terrible."  There  is,  too, 
some  talk  of  his  singing  the  role  of  Basilio  in 
"The  Barber,"  in  which,  by  the  way,  he  so 
greatly  offended  the  susceptibilities  of  certain 
New  York  critics  by  his  somewhat  Rabelaisian 
business.  Few  know  that  Chaliapin,  like  some 
other  famous  tragedians,  is  an  admirable 
comedian.  Vividly  do  we  recall  his  immensely 
comic  acting  and  superb  make-up  as  Don 
Quichotte  in  Massenet's  setting  of  the  Cervan- 
tes story. 

A  new  tenor  of  the  lyric  type  to  be  heard  for 
the  first  time  this  season  at  the  Metropolitan 
is  Michaele  Fleta,  who  has  just  secured  a 
marked  success  at  the  Opera  in  Buenos  Aires. 
Besides  Johnson,  Lauri-Volpi  and  Fleta,  the 
Metropolitan'  has  those  purely  American  tenors 
Orville  Harrold  and  Mario  Chamlee,  excellent 
artists  both ;  and  the  ever  reliable  Welsh  tenor, 
Morgan  Kingston,  not  to  mention  the  admirable 
Martinelli  and  Beniamo  Gigli. 

Most  of  the  old  favorites  of  the  Metropolitan 
are  returning,  save,  of  course  Geraldine  Farrar 
and  Claudia  Muzio. 

We  shall  miss  Madame  Berat ;  and,  still 
more,  poor  little  Alice  Miriam,  so  cruelly 
snatched  from  us  by  death  when  she  was  on  the 
threshold  of  what  promised  to  be  a  successful 
career.  Jean  Gordon  now  takes  the  position  of 
leading  contralto  at  .the  Metropolitan,  remark- 
able progress  indeed,  bearing  in  mind  she  was 
singing  at  a  motion  picture  palace  three  seasons 
ago.     But  she  richly  deserves  her  success. 

The  quintet  of  conductors  —  Bodanzky, 
Moranzoni,  Papi,  Hasselmans  and  Bamboschek 
— remains,  and  there  is  a  possibility  that  Bruno 
Walter,  the  eminent  director  of  the  Munich 
Opera,  will  take  a  few  guest  performances  of 
German  opera.  Personally,  we  would  rather 
the  Wagner  operas  were  left  to  the  able  and 
reliable  Bodanzky,  who  has  no  superstitious 
reverence  for  the  Master's  works,  but  makes 
judicious  cuts  where  necessary. 

It  is  satisfactory  to  learn  that  a  new  stage 
manager  of  high  artistic  renown  has  been 
engaged — Carl  Wy metal,  Oberregisseur  of  the 
Vienna  Opera  House.  It  is  to  be  hoped  he  will 
prevent  any  more  such  hideous  and  oleographic 
productions  as  that  of  "Lorelei"  last  season. 
The  decor  of  "Die  Tote  Stadt"  also  was  far 
from  impressive.  By  far  the  best  stage  pic- 
tures last  year  were  those  provided  by  Joseph 
Urban  in  the  exquisite  revival  of  Mozart's 
"Cosi  Fan  Tutte,"  and  he  had  a  grim  fight  to 
gain  his  own  way. 

Of  course  charming  little  Rosina  Galli  will 
return  to  superintend  the  ballets  and  to  dance 
for  our  delight.  What  would  Gatti  and  we 
others  do  without  her?  She  will  have  some 
good  chances  in  "L'Africaine"  and  the  "William 
Tell"  ballet,  in  the  Venusberg  scene  in  "Tann- 
hauser,"  and  in  "Thais"  and  "Romeo  et 
Juliette."  It  is  just  possible  that  we  may  see 
a  production  of  Strauss's  spectacular  "Josefs- 
legende,"  if  that  rather  startling  work  can  be 
toned  down  sufficiently  to  suit  the  tastes  of  the 
committee  and  subscribers. 

The  incomparable  chorus  of  the  Metropoli- 
tan will  doubtless  achieve  fresh  glories  under 
the  redoubtable  Setti.  Never  was  there  an 
opera  chorus  to  approach  it,  and  it  is  one  of 
the  chief  glories  of  our  leading  opera  house. 

Altogether  the  season  ahead  promises  to  be 
exceptionally  brilliant,  and  should  add  fresh 
feathers  to  the  already  richly  plumed  cap  of 
Cav.    Giulio    Gatti-Casazza. 


SuiADOWLAND 


Freudian  Bacchanal 


(Continued  from  page  49) 


Then  Hamlet  and  Horatio  en- 
twined 

Chased  by  Ophelia,  out  of  her 
mind. 

And  Freud,  from  analytic  Jen- 
sen Dream, 

Brings  our  Gradiva  while  the 
psychics  scream : 

Lady  Godiva  passes  with  a 
shriek 

Unto  the  royal  throne  where 
Greek  meets  Greek. 

A  Magic  Don    Juan    and    Mephistopheles 

Cup:  produce 

A  magic  cup  filled  with  electric 
juice. 

Electric  The  Magic  Cup  is  placed;  The 

Jazz:  Magic  Flute 

Of  Mozart  can  be  heard :  then 

distant,  mute 
Beethoven  in  a  symphony  erotic 
With  Wagner  beating  time  in  a 

chaotic 
Accompaniment  by  Stratiss  in  a 

springsong 
Beating    his    hanklephone    and 

brazen  gong  : 
The  popular  pulsating  Humor- 

esque 
Brings  Dvorak  in  the  Jazz  King 

picturesque, 
Playing    the    melody   of    Home 

Sweet  Home 
Together  on  a  double  fine-tooth 

comb : 
The     Aivakcning      of     Spring 

brings  big,  black  brute, 
To    beat    the    boards    with    his 

dramatic  boot 
While    trap    drums    and    piano 

mingle  in 
The    thoughts    of    Thais    while 

the  niggers  grin. 

Pandora's  Thais  and  Aphrodite  bring  this 

Box:  way 

Pandora's    Box,    painted    with 

big  bouquet 
Of  bleeding  hearts  and  orchids 

on  the  lid 
Beneath  which  all  diseases  have 

been  hid. 

Now  Lucifer  opens  Pandora's 
Box, 

Whence  spring  Delusions  in 
their  tragic  socks : 

Delirium  and  Dreams  and 
Merriment, 

Hallucinations  and  Discourage- 
ment. 

Then    Watts,  Eltinge,  Brennen 

and  Savoy,  fair 
Out  of  their  parts  and  dancing 

with  Despair : 
Female    Impersonators    smartly 

dressed, 
Showing   complexes   which   are 

self-expressed. 

Out    of    the    Magic    Cup    with 

scythe  and  fork, 
Comes  dancing  Death — upon  his 

head  a  cork : 
Looking   for  Boy  and   Girl,  he 

makes  a  dive, 
But  they  elude  him,  very  much 

alive. 

Poor     Innocents,     pursued     by 

Death,  ask  for 
A   lively   dance :   now   Gluttony 

and  Way- 
worn   hands    with   Famine    in    a 

ghostly  ring 
Around  them  while  the  Elemen- 

tals  sing. 

Enter  Upon  the  heights  pale  Chastity 

Chastity:  appears, 

Cream  pearls  caught  in  her 
gleaming  coral  ears 


Desire 

of  Wit: 


Flight  of 
Chastity: 


Fall  of 
Parsifal: 


Lecture  in 
Purgatory: 


Enter 
Marriage: 


Captured 
Wit: 


Discord  and 
Divorce: 


Boy  and  Girl 
Plight  Troth: 


Enter  All 
Too  Human 
Nature: 


Burning  when   Wit  approaches, 

full  of  fire, 
His   brilliance   heightened   by   a 

fresh  desire. 

Wit    chases    Chastity,    becomes 

the  butt 
Of     Lucifer    who    covers    him 

with   smut. 

Chastity  flees  away  from  Bac- 
chanal 

Into  the  opened  arms  of  Parsi- 
fal. 

Parsifal  falls  beneath  the  add- 
ed  weight, 

While  Nietzsche  rescues  him 
at  Hell's  Wide  Gate. 

Now  Nietzsche  lectures  with 
audacity 

Touching  at  length  on  Female 
Chastity : 

Woman  is  ignorant — to  the 
backbone 

When  hurled  towards  marri- 
age, utterly  alone ! 

Marriage  beholds  the  two 
chaste  souls  embracing 

And  comes  unto  them  with 
white  veils  of   lacing. 

Poor     Wit,     unconscious     now, 

by   Marriage   caught 
Is  bound  in  links  of  gold  which 

she  has   brought. 

In   self-defense,    Chastity   takes 

War's   sword : 
Approaches    Lucifer    and    hails 

him   Lord : 
Lucifer     calls     Divorce :     then 

frees  poor  Wit 
From  chains  of  bondage  which 

no  longer  fit. 

Denied  by  Wit,  false  Marriage 

seeks   to   bind 
The  Boy  and  Girl  whom  Love 

at  last  makes  blind : 
In    blind-man's    buff,    they    ex- 
change   golden    rings 
While  Demons  drag   away   the 

once  used  things : 
Washstand  and  Pitcher ;  Books 

and  Box  and  Cup 
Into    the    Gates    of    Hell    are 

broken  up. 
Both    know    the    truth !     Their 

spirits   are  downcast : 
Their     dreams     have     vanished 

and  their  hopes  have  passed : 
Now     they     must     laugh     and 

dance   to   hide   the   pain 
Love     brings      to      them     with 

Death,   ere   they    regain 
Surcease   from   sorrow. 

Nature,   here   demands 

Of  children  wisdom  in  these 
censored   lands  : 

She  bids  the  wise  seem  mad — 
accept  the  mask 

Lucifer  holds,  and  go  about 
your    task  : 

Ask  not  the  why  nor  where- 
fore— modern   youth  : 

Beware  of  gazing  on  the  naked 
Truth  : 

Hypocrisy  is  waiting  with  a 
score 

Of  music  which  has  been  dis- 
played before. 

Wild  Women;  Gentlemen  and 
Spirits  Free 

Advance  and  welcome  her, 
Hypocrisy. 

She  is  a  painted  beauty :  bring 
her    in : 

Mad  dancers  in  Manhattewan. 
begin : 

Join  with  the  masters ;  if  out 
heads    whirl    round 

When  we  are  dancing- 
thoughts   cannot   be    bound. 


J|J 


Beauty  Has  Helped       _ 
Many  a  Girl  to  Success 

It's  Simply  Good  Business  Judgment  to  Keep 
Freckles  from  Marring  Your  Attractiveness 

Beauty  has1  brought  many  a  girl  all  her  heart's 
desires.  The  history  of  the  world  proves  that  charm 
is    almost   magical    in    its    possibilities. 

Its  power  makes  it  well  worth  while  for  you  to 
cultivate  your  attractiveness.  Don't  allow  your  clear 
youthful  skin   to  have  freckles.     Kemove  them   with 

STILLMAN'S  FRECKLE  CREAM 

Now  sold  in  the  new  purple  and  gold  box. 

It  leaves  the  skin  without  a  blemish,  and  causes 
no  downy  growths.  Well  groomed  girls  always  keep 
it   on   their   dressing   tables. 

If  your  druggist  has  no  supply,  write  us  direct. 
Mailed  in  a  plain  package.  50c  a  jar.  Money  re- 
funded   if    not    satisfactory. 

Send  today   for   booklet    "Wouldst  Thou    Be  Fair?" 
containing    helpful    beauty    hints. 
STILLMAN  CREAM  CO..  Dept.  30,  Aurora,  III. 


Why  Dont  Yoti  Buy  (L\SSIC 

The  picture  book  d«  I«va  ~t  «-V.~  *v,nv;<.  world 


Si»IAD©WlAND 


Why  Dont  You  Buy 

The  Picture  Book  DeLuxe  of  the 
Movie  World 


TO  WHOM  DOES  DICK  BARTHELMESS 
OWE  HIS  SUCCESS? 

There  has  been  much  talk 
of  late  about  the  "making  of 
stars."  Credit  is  given  to  the 
Producer,  the  Public,  the  Di- 
rector, the  Scenarist  —  even 
the  Press  Agent.  To  which  of 
these  shall  be  given  the  credit 
for  the  Rise  of  Young  Rich- 
ard? Think  it  out  for  your- 
self, discuss  it  with  your 
friends,  then  read  Faith  Serv- 
ice's article,  "Pre-Griffith 
Days,"  in  the  December 
CLASSIC,  and  learn  the  truth. 

WHEN  you  have  finished 
the  story  of  R.  B.'s  ascent  to 
fame,  turn  the  pages  to  the 
picture  spread,  "The  Rogues' 
Gallery."  We  guarantee  you 
a  surprise  and  a  hearty  laugh. 


. ,--.    f-n„_,.,. 


•  ~    f, 


the 


Where  Bargaining  is  the  Soul  of  Trade 


(Continued  from  page  27) 


from  a  mysterious  opening  in  the  rear  of  the 
shop.  She  is  short  and  round  and  threads  her 
way  with  ponderous  deftness  thru  the  maze  of 
objects  that  cover  the  floor.  If  you  like,  you 
can  tell  her  your  wants,  pay  her  very  reason- 
able price,  and  go.  But  it  will  repay  you  to 
talk  with  her  a  while,  for  she  is  une  savante, 
and  with  an  old  cross  or  bit  of  alabaster  in  her 
hand  she  will  illuminate  pages  of  history  that 
may  have  seemed  dark  and  impersonal  to  you 
before. 

Even  more  wonderful  than  her  historical 
wisdom  is  the  knowledge  she  has  of  her  shop. 
It  is  her  boast  that  she  knows  everything  that 
is  there,  and,  still  more  marvelous,  where  it  is, 
and  the  tricks  of  legerdemain  that  she  per- 
forms are  beyond  belief. 

Perhaps  it  is  an  old  copper-and-enamel  chest 
that  excites  your  fancy  as  you  catch  a  glimpse 
of  it  thru  the  legs  of  a  Roman  chair  and  be- 
hind a  mummy  case,  half  hidden  under  a  pile 
of  armor. 

"Touches  pas!"  cries  madame,  as  you  start 
moving  the  first  half-dozen  things  in  the  way; 
"je  vais  vous  le  montrer,  moi-meme." 

A  few  quick  movements  and  it  is  before  you, 
and  not  a  speck  of  dust  has  been  disturbed. 

"Marvelous,"  you  say,  thinking  of  her  fourth 
dimensional  powers. 

"Is  it  not?  It  is  from  Byzantium,  at  the 
time  of  Justinian — "  and  with  a  few  words  she 
re-creates  the  picture  of  that  Emperor's  court. 

She  does  not  try  to  sell  you  more  than  you 
want,  or  can  afford,  and  she  has  many  things 
that  she  will  not  sell  at  all,  things  that  are 
destined  for  the  Louvre  when  she  can  no 
longer  enjoy  them.  You  come  away  with  a 
very  respectful  feeling  for  this  kindly  old 
woman  who  lives  among  her  cobwebs  and  her 
dreams. 

No  Montparnassian  need  worry  about  the 
furnishings  for  his  studio ;  the  real  difficulty  is 
to  find  the  studio  to  furnish.  Near  the  schools 
south  and  west  of  the  Luxembourg  are  numer- 
ous shops  that  cater,  at  reasonable  prices,  to  all 
tastes.  There  are  pieces  of  French  gothic  and 
peasant    oak,    Spanish    and    Italian    chests    and 


1/ 


tables — simple  things,  so  good  that  they  need 
no  tricky  ornament  or  decorative  scheme ; 
flippant  delicacies  from  the  days  of  the  Grand 
Monarch ;  dignified  and  meaningless  formali- 
ties from  the  Empire ;  an  occasional  example 
of  that  dreadful  style  that  lacks  all  the  qualities 
that  are  inherent  in  art  ancient  or  modern, 
and  so  is  known  by  the  opprobrious  epithet  of 
"art  nouveau." 

Between  "art  nouveau,"  which  has  stolen  in- 
discriminately and  unintelligently  from  many 
sources,  and  the  thieves'  market,  there  is  an 
obvious  analogy.  The  advantage  in  interest 
lies  certainly  with  the  latter,  also  known  by 
the  expressive  title  of  the  "Foire  aux  Puces," 
that  spreads  itself  outside  the  Port  St.  Ouen 
on  Sunday  mornings.  There  are  great  piles  of 
rags  and  small  articles  that  the  chiffoniers  have 
gathered  from  the  ash-cans  of  Paris  during  the 
week.  Bundles  of  linen  and  bedding  that  have 
flapped  on  many  clotheslines,  equal  to  new  in 
that  all  marks  have  been  removed ;  rugs  and 
shawls  and  bits  of  silk  from  nobody  knows, 
or  will  tell,  where.  The  pancake  vendor  sets«up 
his  stand  and  is  surrounded  by  a  hungry, 
chattering  throng  who  eat  the  heavy  cakes,  as 
big  as  large  plates,  with  great  relish. 

Distinguished  appearing  gentlemen,  silk 
hatted  and  gloved,  poke  over  piles  of  fabric  or 
ironmongery  with  their  canes,  in  the  hope, 
often  realized  of  finding  something  of  real 
value.  The  stout,  tightly  buttoned  women  of 
the  toute  petite  bourgeoisie  are  out  in  force  in 
search  of  bargains  in  household  goods,  and 
hold  heated  arguments  over  the  quality,  price, 
and  probable  origin  of  the  articles  on  display. 
There  are  children  everywhere,  running  thru 
the  crowds,  upsetting  people  and  packages, 
tooting  penny  horns  and  shouting  insults  at 
irate  grown-ups.  It  is  a  gala,  and  often  not 
unprofitable  day  for  the  "mioches"  of  Mont- 
martre   and   their   "monies!' 

To  this  have  certain  of  the  offspring  of  the 
Islanders  descended.  Whereas  once  they 
washed  their  neighbors'  linen,  they  now  steal  it, 
probably  finding  this  latter  occupation  both 
more  profitable  and  more   interesting. 


~\\xlT 


oh 


Everything  old  and  small  in  Paris  eventually  finds  its  way 
to  the  stalls  along  the  quais.  Books  predominate,  some  of 
them  dating  from  the  earliest  days  of  printing,  and  Parisians 
and  tourists  alike  spend  many  hours  browsing  among  them 


Si-IADOWLAND 


Wanderings 

(Continued  from  page  59) 

The  eminent  Russian  composer  and  conductor, 
Alexander  Glazounoff,  is  not  expected  here  until 
about  February.  He  is  to  give  orchestral  con- 
certs in  several  of  the  large  cities  as  well  as  in 
New  York.  Poor  Glazounoff !  From  all  I 
have  heard  he  is  a  sadly  broken  man.  Not  only 
was  he  for  some  time  on  the  verge  of  starva- 
tion, but  he  could  not  even  find  music  paper  on 
which  to  set  down  his  ideas  and  inspirations. 
Some  of  his  symphonies,  concerti  and  smaller 
works  are  already  known  in  this  country,  but 
his  own  interpretations  of  them  will  be  heard 
with  interest.  As  a  composer  he  is  on  a  parity 
with  Rachmaninoff.  My  impressions  of  him 
as  a  conductor  when  I  heard  him  at  Pavlovsk 
in  1915  were  highly  favorable,  tho  he  struck 
me  as  more  notable  for  masterfulness  than 
magnetism. 


Yet  another  interesting  Russian  undertaking- 
is  the  coast  to  coast  four  of  the  Ukrainian 
National  Chorus.  They  come  under  the  aus- 
pices of  Max  Rabinoff ,  who  in  1910  brought  to 
this  country,  the  first  Russian  ballet,  including 
Pavlowa  and  Mordkin.  Mr.  Rabinoff  was  also 
responsible  for  introducing  here  the  scenic  and 
decorative  art  of  Leon  Bakst,  Boris  Anisfeld 
and  Alexander  Golovin.  It  is  understood  that 
for  some  time  past  he  has  acted  as  a  sort  of 
unofficial  adviser  on  Russian  affairs  to  the 
authorities  at  Washington.  It  may  therefore 
be  affirmed  that  the  Ukrainian  Choir  comes 
under  exceptionally  experienced  and  responsible 
auspices.  Those  who,  like  the  writer,  have 
heard  some  of  the  great  choirs  of  Russia  are 
aware  that  there  is  no  more  glorious  and  im- 
pressive singing  of  its  kind.  The  visiting  choir 
comprises  about  forty  carefully  picked  voices, 
and  their  singing  of  the  haunting  folk  songs 
of  the  country  is  exquisite  beyond  description 
in  words,  and  is  bound  to  elicit  a  furore  of 
enthusiasm  wherever  heard.  It  is  indeed  choral 
singing  in  excelsis.  The  Ukrainians  have 
hereditary  musical  taste  and  a  highly  perfected 
technique,  for  which  they  can  thank  their  ac- 
complished conductor,  Alexander  Koshetz.  Be- 
sides the  choir  there  are  two  soloists,  Nina 
Koshetz,  fitim  the  Moscow  Opera,  and  Oda 
Slobodskaja,  whose  style  is  as  dramatic  and  sen- 
sational in  its  way  as  is  that  of  Chaliapin's,  who, 
thank  the  gods,  returns  to  the  Metropolitan  this 
season. 


An  outstanding  event  of  the  musical  season 
is  the  reappearance  on  the  concert  platform  of 
the  patriot-premier-pianist,  Paderewski.  Hav- 
ing spent  his  fortune  as  well  as  his  time  and 
talents  for  statesmanship  on  a  country  which 
has  proved  none  too  grateful,  necessity  compels 
him  to  resume  the  work  which  brought  him 
fame  and  fortune  in  such  large  measure. 
Whether  or  not  his  technique  and  musical  tal- 
ents are  unimpaired  he  will  be  received  with 
the  enthusiasm  and  respect  due  to  so  truly 
great  a  man.  George  Engles,  who  made  a 
marked  success  as  pilot  of  the  N.  Y.  Symphony 
Orchestra  thru  Europe,  will  be  his  manager, 
so  we  now  have  in  New  York  Paderewski's 
first  manager,  Daniel  Mayer,  and  his  last. 
Mayer,  who  is  the  doyen  of  impresarii,  can  tell 
interesting  stories,  of  his  experiences  as  man- 
ager of  famous  artists,  and  one  day  he  may 
do  so  for  Shadowland. 

At  the  time  of  writing,  Paderewski  is  an- 
nounced as  candidate  for  the  Presidency  of 
Poland,  and  it  may  be  presumed  that  in  the 
event  of  his  election  his  tour  will  be  canceled. 


S.  Jay  Kaufman,  who  has  been  "round-the- 
towning"  in  half  the  capitals  and  great  cities 
of  Europe,  was  back  on  Broadway  early  in 
September.  He  is  to  be  congratulated  on  his 
bright  and  amusing  foreign  letters  to  The 
Globe;  letters  which  have  made  him  the  most 
popular  man  in  Budapest  and  the  most  un- 
popular in  Warsaw  at  the  present  moment. 
Pitts  Sanborn  has  been  making  his  annual 
gastronomic  tour  of  Europe,  and  is  said  to  be 
contemplating  a  new  annotated  edition  of 
Brillat-Savarin's    "La    Philosophic    du    Gout." 


Good  News 

That  millions  of  women  tell 


Millions  of  women,  all  the  world  over, 
have  found  a  way  to  prettier  teeth.  Some 
by  dental  advice,  some  by  this  ten-day  test. 

They  have  spread  the  news  to  others. 
Now  wherever  you  look  you  see  glistening 
teeth,  and  more  smiles  to  show  them. 

We  urge  you  again  to  accept  this  test  and 
prove  to  yourself  what  they  know. 

Must  combat  film 

That  viscous  film  you  feel  on  teeth  must 
be  combated  daily.  Otherwise  it  clings, 
enters  crevices  and  stays.  It  forms  the 
basis  of  cloudy  coats,  including  tartar. 

It  also  holds  food  substance  which  fer- 
ments and  forms  acid.  It  holds  the  acid  in 
contact  with  the  teeth  to  cause  decay. 
Germs  breed  by  millions  in  it.  They,  with 
tartar,  are  the  chief  cause  of  pyorrhea. 

Thus  most  tooth  troubles  are  now  traced 
to  film,  and  very  few  escape  them. 

Why  it  remains 

The  tooth  brush  and  the  ordinary  tooth 
paste  cannot  effectively  combat  it.  S<b 
nearly  everybody,  however  careful,  had 
teeth  discolor  and  decay. 

Dental  science  has  for  years  tried  to  com- 
bat this  condition.  Two  ways  have  now 
been  found.  Able  authorities  have  proved 
them,  and  leading  dentists  now  urge  their 
daily  use. 

REG.  U.S.     ^KHU^n^B^Mi^HMai 

The  New-Day  Dentifrice 

Endorsed  by  authorities  and  advised 
by  leading  dentists  nearly  all  the 
world  over  today.  All  druggists  sup- 
ply the  large  tubes. 


A  new-type  tooth  paste  has  been  per- 
fected, called  Pepsodent.  It  corrects  some 
old  mistakes.  These  two  great  film  com- 
batants are  embodied  in  it  for  daily  appli- 
cation. 

It  does  far  more 

Pepsodent  does  more  than  that.  It  multi- 
plies the  starch  digestant  in  the  saliva. 
That  is  there  to  digest  starch  deposits 
which  may  otherwise  cling  and  form  acids. 

It  multiplies  the  alkalinity  of  the  saliva. 
That  is  there  to  neutralize  mouth  acids — 
the  cause  of  tooth  decay. 

It  omits  soap  and  chalk,  which  now  are 
known  to  bring  undesired  effects. 

You'll  know   at  once 

Pepsodent  brings  quick  results.  A  week 
will  make  them  conspicuous.  Once  you  see 
and  feel  them  you  will  never  go  without 
them,  or  let  your  children  miss  them. 

Send  the  coupon  for  a  10-Day  Tube.  Note 
how  clean  the  teeth  feel  after  using.  Mark 
the  absence  of  the  viscous  film.  See  how 
teeth  whiten  as  the  film-coats  disappear. 
Learn  the  delights  of  Pepsodent,  with  the 
added  protection  and  beauty  it  brings. 

Do  this  without  delay.  Cut  out  the 
coupon  now.    This  is  most  important. 


10-Day  Tube  Free 

THE    PEPSODENT    COMPANY, 

Dept.  371,  1104  S.  Wabash  Ave., 

Chicago,  111. 

Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family 


Page  Seventy-^Three 


Su4t>OWLAND 


In  its   DECEMBER   number 

MOTION  PICTURE 
MAGAZINE 

Invites  You 

to  spend   an   hour 

with  Dorothy  Gish  as  she 
chats  over  the  teacups  with 
Adele  Whitely  Fletcher. 
Miss  Gish  ran  away  from 
picture-making  when  "Or- 
phans of  the  Storm"  was 
completed,  and  now  she 
comes  back  to  play  leading 
lady  in  Richard  Barthel- 
mess  new  picture. 


to  talk  with  H 


arry 

Carr  about  Mary  Pick- 
ford's  Problem.  Perhaps 
you  believe  that  Mary 
should  be  the  happiest  girl 
in  the  world  because  "she 
has  everything"  —  Beauty, 
Youth,  Wealth,  Adoration, 
Fame.  But  Mary  hasn't 
"everything."  Her  life 
holds  a  deep  tragedy.  .  .  . 

to  give  a  moment's 


thought  to  "The  Story  of 
the  Art  Title."  For  years 
there  has  been  a  gradual 
turning  toward  the  brief 
caption  thrown  upon  a  dec- 
orative background  that  ex- 
presses the  motif  of  the  film 
story.  All  picture-lovers 
should  learn  the  history  and 
psychology  of  the  art  title. 

to  feast  your  eyes 


on  an  extraordinary  beauti- 
ful portfolio  of  the  players 
...  on  many  double  pic- 
torial spreads  ...  on  ex- 
quisite full-page  studies  of 
the  stars. 

MOTION  PICTURE 
MAGAZINE 

for  DECEMBER 

On  all  Newsstands  November  the  first 


Japanese  Sword  Guards  as  Collecting  Objects 


(Continued  from  page  22) 


hexagon  continued  in  favor.  This  type  is 
known  in  Japan  as  the  Shitogi  tsuba,  from  the 
resemblance  it  bears  to  the  Shitogi  cake,  a  con- 
fectionary used  in  Shinto  ritual. 

The  insufficient  protection  which  such  tsuba 
afforded  to  the  hand,  must  have  been  felt  by 
the  aristocrats  of  the  period,  notwithstanding 
the  fact  their  swords  were  worn  chiefly  as  an 
ornamental  detail  of  the  court  costume.  A 
century  later  we  find  the  Sitogi  tsuba  increas- 
ing in  size,  and  embellished  with  a  semi-cir- 
cular metal  ring,  which  projected  on  both  sides. 

The  extension  of  the  cavalry  arm  of  the 
service  led  to  the  modification  of  the  sword 
guard,  and  curved  swords,  intended  for  use 
with  one  hand  by  a  mounted  trooper,  replaced 
the  straight  sword,  which  called  for  two- 
handed  manipulation  by  the  soldiers  of  the 
infantry. 

The  uselessness  of  the  Shitogi  tsuba  in  agres- 
sive  warfare,  was  presently  recognized,  and  the 
swordsmiths  were  forced  to  revert  to  the 
primitive  flat  metallic  discs.  The  form  much 
in  vogue  in  the  twelfth  century  is  called  the 
Aoi  tsuba,  from  the  heart-shaped  leaf  of  that 
plant,  known  in  botany  as  Asarum.  The  guard 
is  a  square,  the  sides  of  which  are  developed 
into  heart-shaped   forms. 

The  Aoi  tsuba  was  generally  made  of  copper 
and  gilded,  tho  sometimes  iron  or  leather  was 
substituted.  The  surface  of  the  guard  was 
often  decorated  with  flower  motifs  in  low  re- 
lief, or  with  the  dragon-fly,  a  symbol  of 
courage. 

Other  decorative  forms  were  flying  pigeons, 
a  bird ,  sacred  to  the  War  God,  Hachiman, 
storks,  and  young  pines. 

By  the  end  of  the  fifteenth  century  the  tsuba 
makers  began  to  affix  their  signatures  to  their 
work.  Iron  was  treated  with  acids  to  secure 
a  rich  dark  tonality.  Then  simple  inlaying  in 
gold  and  brass  appeared.  The  perforated 
tsuba  was  briefly  popular.  Pictorial  ones  fol- 
lowed, and  carving  became  a  fad  with  the 
sword-guard   designers. 

Cloisonne  was  used  on  tsuba  for  the  first 
time  by  the  Hirata  school.  Then  color  became 
an  important  factor  in  the  workmanship,  and 
all  possible  alloys  were  utilized  in  order  to 
produce  the  desired  tone.  Precious  stones, 
as  well  as  coral,  were  used  in  addition  to  the 
metal. 

Many  of  the  guards  are  associated  with  cer- 
tain legends,  the  proper  understanding  of 
which  adds  greatly  to  their  enjoyment. 

Collectors  and  lovers  of  Japanese  objets 
d'art,  even  when   they  specialize   in   the   selec- 


tion of  their  treasures,  even  when  they  prefer 
the  purely  ornamental  designs,  all  confess  to 
the  attraction  exerted  upon  them  by  the  sub- 
jects depicted,  the  symbolism  of  the  composi- 
tion, the  hidden  meaning  of  some  scene.  How- 
ever, few  collectors  can  be  found  who  have  not 
sometimes  had  cause  to  bewail  their  inability 
to  understand  fully  the  artist's  intention,  or  to 
name  the  personages  represented. 

Animals  and  plants  were  curiously  associated, 
to  which  some  symbolism  originally  attached, 
but  the  original  significance  has  too  often  been 
lost  in  the  blind  following  after  tradition.  Thus 
the  quail  and  the  millet,  the  peacock  and  peony, 
Shishi  and  peony,  swallow  and  willow,  tiger 
and  bamboo,  plum  blossom  and  moon,  Chidori 
and  waves,  deer  and  maple,  boar  and  Lespedeza, 
are  of  frequent  occurrence.  The  snake  is  also 
often  shown  coiled  around  a  tortoise,  some- 
times with  a  jewel — reminiscent  of  the  snake 
and  egg  myth. 

Another  group  of  emblems  in  which  the 
association  is  more  strict  is  that  of  the  "mes- 
sengers" with  their  resepective  deities.  For 
instance,  the  deer  is  the  "messenger"  of  the 
God  of  Kasuga  Shrine ;  the  crow  that  of  the 
God  of  Kumano;  the  dove  is  consecrated  to 
Hachiman,  the  monkey  to  the  Sanno  Shrines 
of  Ohonamoch,  the  fox  to  Inari,  and  the  white 
serpent  to  Benton  Horary.  Zodiacal  charac- 
ters in  the  form  of  animals,  are  also  found 
associated,  the  usual  combination  being  the 
"night"  hour  with  the  "day"  hour. 

When  a  workman  was  about  to  cast  an  im- 
portant bronze,  he  selected  a  lucky  day  for 
the  operation,  and  when  his  work  was  finished 
he  engraved  upon  it  the  month  and  the  year, 
following  it  by  a  Japanese  character  signifying 
Lucky  Day  or  Day  of  Luck  Omen. 

The  custom  of  assuming  titles  is  not  uncom- 
mon atnongst  artists  in  Japan  and  a  favorite 
one  among  the  makers  of  sword  guards  appears 
to  have  been  Niudo,  which  means  a  layman 
who  has  shaved  his  head,  after  the  fashion  of  a 
Buddhist  priest. 

The  words  Jiu,  or  Jiunin,  meaning  a  resi- 
dent, or  resident  in,  are  frequently  found  upon 
sword  guards,  in  connection  with  the  names 
of  the  town  and  province  in  which  the  maker 
resided. 

Sword  guards  lend  themselves  very  readily 
to  decorative  purposes  and  the  variety  of  sub- 
jects to  be  met  with  in  these  objects  is  ex- 
tremely large.  The  native  swordsmiths  have, 
during  the  ages,  developed  a  pronounced  genius 
for  the  art  treatment  of  an  infinite  variety  of 
objects  that  would  not,  perhaps,  have  occurred 
to   the   Occidental   artist. 


Ill  UMiumni!  nun  imimi  hi  in  nun  in  ii  i  inn  iimimitiii  minim 


Respecting  the  American  Theater 


(Continued  from  page  66) 


actually  one  of  those  ghastly  cripples  with- 
out any  legs  who  go  stumping  about  the 
streets. 

If  you  dont  care  for  such  things,  you  have 
"Whispering  Wires,"  a  steadily  deteriorating 
specimen  of  the  murder-mystery  play.  Its  first 
act  is  fairly  exciting,  but,  after  this  is  over, 
and  Ben  Johnson  is  dead,  it  ceases,  of  course, 
to  have  much  excuse  for  existence.  Its  work 
as  an  actor-eradicator  is  done. 

Among  the  accidents  of  fall  is  a  play  of  good 
manners,  good  speech,  good  actors  and  every- 
thing but  good  drama  by  Louis  Evans  Ship- 
man,  who  has  gone  into  partnership  with  the 
Shuberts  to  produce  "Fools  Errant."  This  story 
of  an  earnest  young  man  who  imagines  that  or- 
ganizing a  company  union  in  a  mining  camp  is 
a  milestone  in  social  progress,  is  burdened  with 
much  superfluous  language.  It  is  overwritten, 
as  well  as  underwritten,  by  the  author. 

There  is  little  to  be  said  for  the  other  new 
pieces  except  that   George  White's   "Scandals" 


is  about  as  usual,  rejoices  in  Paul  Whiteman's 
Orchestra,  and  would  faint  dead  away  if  some 
good  old  masculine  comedian  like  De  Wolf 
Hopper  invaded  its  fairyland  of  love  and  laugh- 
ter ..  .  that  just  such  a  husky  humorist,  Frank 
Tinney,  makes  "Daffy  Dills"  a  most  entertain- 
ing piece  while  he  is  on  the  stage  .  .  .  that  "So 
This  Is  London !"  is  the  sort  of  "satire"  on 
English  manners  in  which  the  heroine,  Elinor 
Beauchamp,  says :  "What  is  the  phrase  of  com- 
mendation? Attaboy'?"  .  .  .  that  "Manhattan," 
like  many  another  public  offender,  changed  it's 
name  after  the  crime  was  discovered,  and 
adopted  the  alias  "Eastside-Westside"  .  .  .  that 
Mrs.  Henry  B.  Harris  gave  "Lights  Out"  the 
O.  K.  before  it  entered  the  ring  by  asking  that 
excellent  villain,  Felix  Krembs,  to  try  to  play 
a  comic  crook  .  .  .  and  that  in  the  case  of  Ed- 
ward Locke's  poisoning  drama,  "The  Woman 
Who  Laughed,"  the  author  got  the  title  wrong ; 
it  was  the  audience  that  laughed,  and  it  laughed 
last. 


Page  Seventy-Four 


SuiADOWLAND 


Grand  Opera  Over  Here  and  Back  There 


(Continued  from  page  50) 


great  house  in  Barcelona ;  a  very  presentable 
one  in  Madrid. 

But  it  is  in  Italy  that  the  opera  house  comes 
to  its  apotheosis ;  in  Milan,  Italy,  that  it  reaches 
the  very  highest  of  all  high  peaks.  La  Scala ! 
It  is  a  name  to  be  breathed  with  respect.  And 
veneration.  The  most  famous  music  theater  of 
all  this  broad  world.  Beyond  even  a  shadow 
of  a  doubt.  To  its  stage  must  come  any  singer 
who  seeks  fame ;  international  prestige  and 
recognition.     There   is   no   alternative  pathway. 

Recently  La  Scala  has  been  completely  re- 
built from  the  proscenium  arch  backward. 
The  Milanese  would  not  have  countenanced  any 
tampering  with  its  historic  six-tiered  audito- 
rium, with  the  implacable  clock  set  squarely 
over  the  curtain  opening.  All  else  went.  The 
ancient  stage  and  its  almost  equally  ancient 
appurtenances.  And  many  millions  of  lira 
were  expended  in  building  for  La  Scala  the 
most  modern,  the  best  equipped  of  all  theater 
stages.  Now  the  old  house  offers  not  merely 
the  distinction  of  its  fine  traditions  of  produc- 
tions but  an  arena  in  which  they  may  be  set  as 
nowhere  else — not  even  in  the  rejuvenated 
Theater  Royal  in  Drury  Lane,  London.  The 
production  of  La  IVally  which  I  saw  in  La 
Scala  this  year  was  absolutely  impeccable.  Be- 
fore it  dimmed  even  the  most  glorious  of  my 
memories  of  super-productions  in  our  own  be- 
loved Metropolitan  in  New  York. 

Yet  the  old  San  Carlo,  in  Naples,  so  very, 
very  old  that  its  frescoed  ceiling  seems  all  but 
ready  to  drop  from  aloft,  is  not  less  precious  in 
its  memories  and  in  its  traditions  than  the 
Milan  house.  It  simply  has  not  had  the  good 
fortune  in  recent  years  to  be  situated  in  a  city 
blessed  by  an  amazing  prosperity.  Because 
Naples  halts,  its  opera  halts.  If  Naples  should 
again  return  to  its  ancient  prestige  and  its 
wealth,  San  Carlos  might  again  become  the 
leading  opera  house  of  the  world.  The  Italian 
mind  would  be  quite  as  easily  satisfied.  Italy 
still  would  lead  in  the  superb  form  of  drama 
which  is  told  thru  the  aid  of  the  interpretive 
sense  of  music. 

Turn  this  taste  back  to  ourselves.  In  the 
United  States  we  have  no  opera ;  or  at  least 
so  little  in  proportion  to  our  wealth  and  popu- 
lation that  it  is  hardly  worth  the  setting  down. 
On  that  December  day  four  years  ago  that  the 
historic  French  Opera  House,  of  New  Orleans, 
went  gloriously  to  its  destruction  in  a  Valhalla 
of  smoke  and  flame,  the  opera  in  America 
suffered  one  of  the  most  crushing  losses  in  its 
history.  I  make  this  statement  advisedly. 
Music  lovers  are  going  to  rise  up  in  protest 
and  point  their  fingers  to  the  Metropolitan — its 
long  list  of  real  achievements,  its  great  plans 
for  the  future. 

I  know  the  Metropolitan.  I  love  it,  even  tho 
I  could  wish  many  times  that  it  were  less  of  a 
social  institution  and  more  of  an  opera  house. 


But  the  Metropolitan  was  opened  but  as  yester- 
day— 1883.  It  has  had  but  little  opportunity  to 
acquire  traditions.  The  French  Opera  House, 
of  New  Orleans,  built  in  1857  after  the 
model  of  the  Lycee  in  Barcelona,  was  fairly 
aromatic  in  its  memories.  It  was  rarely  ever 
prosperous.  Well,  what  of  that?  The  opera 
may  not  have  prospered  in  Bourbon  Street,  but 
it  endured.  Please  note  that.  On  the  night 
preceding  the  fire  that  ended  its  career,  there 
was  opera  in  the  old  house ;  on  the  following 
night  there  was  to  have  been  opera  again ;  and 
for  three  months  thereafter,  or  up  until  the 
coming  of  Lent.  In  that  old  house  there  were 
scenery  and  costumes  for  more  than  two  hun- 
dred standard  operas. 

The  point  at  which  I  am  driving  is  that  opera 
was  in  the  very  heart  of  the  old  New  Orleans. 
That  made'  its  Opera  House — no  matter  what 
else  it  was,  forever  a  thoro  artistic  success. 
Opera  has  crept  into  the  heart  of  metropolitan 
New  York.  Two  opera  houses  in  the  height  of 
the  season  are  not  enough  to  satisfy  the  beat- 
ings of  that  civic  organ  there.  Opera  has  never 
been  in  the  heart  of  Boston.  Which  is  the 
chief  reason  why  the  fine  red-brick  Boston 
Opera  House  in  Huntington  Avenue — with  one 
of  the  best-planned  and  most  attractive  audi- 
toriums in  all  creation — finally  had  to  close  its 
doors,  disband  its  resident  company  and  suffer 
transformation  into  a  theater  for  high-grade 
burlesque  and  spectacular  productions. 

Recently  a  huge  new  opera  house  has  been 
completed  in  Rochester,  N.  Y. — at  a  cost  well 
into  the  millions  of  dollars.  Its  donor,  Mr. 
George  Eastman,  has  shown  sage  wisdom  in  a 
frank  statement  that  the  house  must  spend 
many  of  its  evenings  in  motion-picture  produc- 
tion, until  such  time  as  the  town,  itself,  can 
cultivate  a  musical  taste  such  as  to  justify  a 
greater  attention  to  music  in  that  auditorium. 
He  is  quite  right.  .  .  .  One  of  my  favorite 
opera  houses,  anywhere,  is  the  historic  theater  in 
Bordeaux  which  was  first  built  in  the  days  of 
Louis  XVI.  It  still  is  a  glorious  place.  It  has 
a  competent  resident  company  which  sings 
thoroly  capable  opera — if  not  glorious.  Bor- 
deaux is  approximately  the  same  size  as  Roch- 
ester. But  its  musical  taste  has  been  two  cen- 
turies in  the  making.  In  another  century  or 
thereabouts  we  ought  to  have  a  pretty  well  ad- 
vanced musical  taste  here  in  the  United  States. 
In  that  day,  perhaps  long  before,  we  should 
have  many  opera  houses — real  opera  houses 
with  their  own  resident  companies  exchanging 
their  stars  and  engaged  in  the  constant  produc- 
tion of  creative  work. 

We  have  laid  the  foundations  for  that  taste 
already.  Yet  our  work  is  by  no  means  done. 
It  may  be  hardly  more  than  fairly  begun.  The 
task  is  a  difficult  one  and  fraught  with  many 
problems.  But  it  is  not  impossible.  In  that  is 
our  great  American  artistic  hope  for  the  future. 


lliliimMMili'imimiiimimiiiiiiiill'Kilimilllllin-'iiliM) 

Our  Lyrical  Psycho-Realist 

(Continued  from  page  67) 


acute  observation,  wherewith  Aiken  pricks  his 
own  balloon.  When  he  says  that  "Brutality 
is  no  substitute  for  magic.  One  must  take  one's 
mood  alive  and  singing,  or  not  at  all,"  one 
thinks  inevitably  of  the  brutalities  in  his  youth- 
ful narrative  pieces.  When  he  describes  an- 
other poet's  verse  as  being  "as  liquid  and  per- 
suasive as  drifting  in  a  gondola.  There  are  no 
.  .  .  emotions  so  intense  as  to  shake  one's 
repose,"  one  recalls  Aiken's  foolish  striving 
after  musical  effects  which  are  no  more  stimu- 
lating. When  he  mentions  somewhat  scorn- 
fully the  "current,  romantic  nostalgia  for  the 
remote  and  strange,"  one  wonders  whether  the 
vicarious  wish-fulfillments  of  his  several  heroes 
are  not  touched  with  the  same  sickness.  The 
chief  trouble  with  this  poet  would  seem  to  be 
not  his  unawareness  of  the  modern  poet's  world 
so  much  as  his  unawareness  of  his  own  short- 
comings in  the  interesting  direction  in  which 
he  tends  to  go.  Certainly  his  chosen  themes 
afford  him  a  rare  scope,  an  almost  unexplored 
territory.  "Senlin"  alone  is  an  accomplishment 
which  bids  one  look   for  the  final  overcoming 


of  these  stubborn  faults.  At  the  same  time 
one  feels  in  Aiken's  work  one  great  difficulty. 
It  is  the  eternal  quarrel  in  him  between  the 
pure  lyricist,  the  special  pleader  for  the  musical 
character  of  poetry,  and  the  protagonist  of 
"psycho-realism."  Too  often  his  preoccupa- 
tion with  psychology  escapes  the  nets  of  his 
music.  He  can  seldom  resist  a  musical  effect. 
He  is  always  trying  to  penetrate  to  a  level  of 
consciousness  which  the  music  he  masters  fails 
to  express.  For,  mark  you,  Aiken's  harmonics 
bear  little  analogy  to  that  of  a  Strauss  or  a 
Stravinski.  He  is  the  Schubert  of  poetry 
fiddling  in  the  laboratories  of  Viennese  psy- 
chologists. This  is  the  root  of  his  unsuccess. 
How  and  when  will  he  reconcile  these  con- 
flicting impulses?  A  recent  piece  of  fiction  by 
Aiken  in  the  Dial  would  seem,  perhaps,  to  indi- 
cate that  the  true  medium  for  the  psycho- 
realist  _  in  him,  is  prose  narrative.  Here  the 
prose  is  "alive  and  singing,"  rich  in  memorable 
charm  and  psychological  insight.  As  for  the 
musician  in  our  poet,  he  may  fulfil  himself 
in  the  art  of  the  self-sufficient  lyric. 


iU>  Do  Your 
Eyes  Betray  You? 

Do  your  Eyes  show  your  Age — or  Make 
you  seem  Older  than  you  are?  Are  they 
Dull,  Tired,  Lifeless?  There's  No  Need 
to  have  Unattractive  Eyes,  for  Murine 
Quickly  Restores  the  Bewitching 
Sparkle  and  Radiance  of  Youth. 

Murine  contains  no  Belladonna  or 
other  Harmful  Ingredients.  It  Refreshes 
Weak, Weary  Eyes — M  ak  es  them  Clear, 
Bright  and  Beautiful.  Use  it  Night  and 
Morning.   Sold  by  all  Druggists. 

Send  for  FREE  Book  on  Eye  Beauty 

Murine  Eve  Remedy  Co. 
Dept,  C,  Chicago 

DRfNC 


SuADOWLAND 

for  DECEMBER 

Read  "Importing  Europe's  Foremost 
Stage,"  an  illuminating,  powerful  article 
on  the  Moscozv  Art  Theater,  ivhose  en- 
tire first  line  is  coming  to  New  York  in 
January.  The  realism  of  this  theater  of 
the  Russians  is  far  superior  to  realism 
as  ive  know  it  in  our  theaters. 

Among  the  plays  to  be  presented  is 
Gorky's  "The  Lower.  Depths."  Photo- 
graphs from  this  production  zvill  illustrate 
the  article  in  the- December  Shadowland. 


"Convenient  to  Everywhere" 

RITTENHOUSE 

HOTEL 

22d  and  Chestnut  Sts. 

Philadelphia,  Pa. 


Rooms  with  hot  and  cold 
running  water 

Rooms  with 

bath 


.  $2UP 
.  $3UP 


Club  Breakfast,  50c  up 
Special  Luncheon,  90c 
Evening    Dinner,  $1.25 


As  well  as  service  a  la  carte 


Music  During  Luncheon, 
Dinner  and  Supper 


Page  Seventy-Five 


SUADQWLAND 


SHADOWLAND 

SPEAKS  TO  THE 

ART   LOVER 


FOREWORD: 

The  future  of  painting  resides 
in  America.  We  have  the  talent, 
the  serious  purpose ;  we  have  a 
group  of  young  men  whose 
work  is  daily  finding  a  larger 
and  more  enthusiastic  audience. 
The  aim  of  our  new  art — 
Futurism,  Impressionism,  and 
the  like — is  the  overthrow  of 
photographic  realism,  and  the 
restoration  of  design  to  paint- 
■    ing. 

RESUME': 

Since  June,  1921,  Shadow- 
land  has  been  publishing  a 
series  of  critical  articles,  written 
by  recognized  authorities,  on  the 
work  of  our  new  American 
artists,  and  reproducing  in  full 
color  two  or  three  distinctive 
compositions   of   each   man. 

Among  the  artists  whose  work 
has  been  reviewed  and  repro- 
duced are  Allen  Tucker,  Ernest 
Lawson,  George  Bellows,  Bry- 
son  Burroughs,  William  Yar- 
row, Maurice  Prendergast, 
Homer  Boss,  Thomas  Benton, 
John  Marin,  Preston  Dickinson, 
John    Sloan. 

DECLARATION: 

Shadowland  plans  to  con- 
tinue this  series  that  has  at- 
tracted so  much  cooperation  and 
favorable  comment. 

In  the  November  number 
number  there  will  be  a  critique 
and  reproductions  of  the  work 
of  Hayley  Lever,  than  whom  no 
living  painter  of  landscapes  has 
a  deeper  feeling  for  movement. 
"The  waters  on  his  canvases  vi- 
brate in  the  light ;  his  trees  feel 
the  impact  of  the  winds." 

In   December,   Shadowland 

will  reproduce  and  review  the 
work  of  Charles  Dem'uth  who, 
you  will  remember,  two  years 
ago  in  Paris,  executed  a  series 
of  circus  scenes  and  vaudeville 
phantasies  whose  impeccable 
artistry  drew  world-wide  com- 
ment. 

SuADOWLAND 

FOR 

NOVEMBER 


The  Business  of  Manufacturing  Literature 


(Continued  from  page  41) 


Theodore  Dreiser,  en  the  other  hand,  passes 
up  Hollywood  and  all  that  therein  is.  He  lived 
out  at  the  Hollywood  Hotel  for  a  while  and  did 
his  writing.  But  one  day  he  rose  up  with  fury 
and  said  he  refused  to  have  further  dealings 
with  any  souls  so  filled  with  bromides  and  plati- 
tudes. He  gathered  up  his  belongings  and 
moved  to  Glendale,  a  suburb  of  Los  Angeles 
that  nestles  back  in  the  mountains.  He  is  so 
determined  not  to  have  "nothing  to  do  with 
nobody,"  as  Sis  Hopkins  says,  that  he  will  not 
reveal  his  whereabouts  to  his  best  friends. 

Mrs.  Gertrude  Atherton  is  another  of  the 
colony  who  favors  solitude.  Only  when  actu- 
ally writing  however.  At  ordinary  times,  she 
is  very  friendly  and  gregarious :  but  when  the 
divine  sparks  begin  to  fly,  she  betakes  herself 
into  the  silence.  No  one  knows  where  she  goes. 
Telegrams,  letters,  friends  cannot  reach  her. 
Which  fact  the  folks  down  at  the  Goldwyn 
Studio  bear  with  Christian  fortitude — for  a 
reason.  Mrs.  Atherton  composes  all  her  novels 
on  a  small  folding  typewriter  which  has  a 
sound  like  someone  trying  to  have  a  fit  in  a 
tin-can  factory.  On  the  one  occasion  when  an 
inspiration  came  on  suddenly  at  the  studio, 
everyone  else  had  to  leave.  Hearing  the  clatter 
someone  asked  a  witty  scenarist  what  the  riot 
was  about.  "Mrs.  Atherton  writing  a  silent 
drama,"  was  the  reply. 

Rita  Weiman,  who  is  periodically  a  member 
of  the  Hollywood  literary  colony,  confesses 
that  she  has  to  get  herself  "fixed  up"  before 
she  can  write  her  plays.  Many  of  the  Holly- 
wood writers,  having  been  newspaper  men  and 
women,  can  hammer  out  a  story  in  a  boiler 
factory.  Miss  Weiman  says  frankly  that  she 
has  to  go  to  some  place  where  she  can  be 
surrounded  by  beautiful  things,  and  she  always 
wears  a  green  silk  Chinese  mandarin  robe  with 
amethyst  trimmings.  If  the  green  robe  faded, 
there  wouldn't  be  any  more  plays :  that's  flat 
and  final. 

One  of  the  interesting  figures  in  the  Holly- 
wood colony  is  Frank  R.  Adams,  the  author  of 
"The  Time,  the  Place  and  the  Girl,"  "A  Stub- 
born Cinderella,"  and  other  big  stage  successes. 
He  is  one  of  the  successful  playwrights  in  the 
history  of  the  stage  who  deliberately  gave  it 
up  and  turned  to  writing  short  stories.  He  says 
it  is  less  difficult  and  trying.  Mr.  Adams  lives 
in  Michigan  during  the  summer  and  in  Los 
Angeles  in  the  winter.  He  always  rents  an 
office  and  works  like  Peter  B.  Kyne,  but  writes 
all  his  stuff  long  hand,  with  an  enormous  pen — 
to  be  copied  by  his  young  secretary. 

Frances  Marion,  the  highest  paid  scenario 
writer  in  the  world,  has  lately  turned  novelist 
— not  to  speak  of  motion  picture  producer.  She 
has  a  peculiar  way  of  writing.  With  a  pencil, 
she  writes  the  beginnings  of  sentences,  intro- 
ductions, etc.  Then,  from  that,  she  dictates  to 
a  stenographer. 

Gene  Stratton  Porter,  the  "best  seller"  of  all 
women  authors,  lives  in  a  suburb  of  Los 
Angeles.  She  also  dictates  her  stories  to  a 
stenographer.  She  says  it  was  difficult  for  her 
to  learn  to  do  it,  but  she  was  rewarded  for  the 
effort  by  the  saving  of  actual  writing  labor. 
She  is  a  housewifely  Middle  Westerner  who 
mingles  very  little  with  the  literary  colony. 

Harold  Bell  .  Wright  has  several  beautiful 
homes  in  the  environs  of  Los  Angeles,  but  is 
actually  living  at  the  present  time  in  Arizona  on 
account  of  his  health.  Of  all  living  writers  he 
has  the  most  unique  and  interesting  methods. 
When  the  idea  for  a  novel  comes  to  him,  he 
writes  it  down  on  a  card — just  the  bare  idea 
In  his  study  he  has  a  big  wire  rack,  like  the 
rack  that  country  hotels  use  for  the  mail  of 
the   guests.     He   places   his   card   there ;    lights 


his  pipe  and  studies  it.  Then  he  tears  up  the 
card  and  substitutes  three  cards  which  divide 
the  idea  between  them — the  preparation  for 
the  story,  the  climax,  and  the  "blow  off"  as 
authors  term  the  denouement.  Eventually  these 
cards  are  divided  and  divided  until,  before  he 
begins  actually  to  write  a  word,  he  has  a  card 
showing  every  bit  of  description  and  every 
conversation  that  will  appear  in  the  book. 

Stephen  French  Whitman,  whose  "Predes- 
tined" is  considered  by  many  critics  to  be  the 
best  novel  ever  written  by  an  American,  has  a 
somewhat  similar  method.  He  makes  a  map  of 
the  story  with  colored  pencil — one  color  for 
each  character.  Mr.  Whitman's  neighbors  in 
Los  Angeles  are  Mary  Pickford's  mother  and 
Cleveland  Moffat. 

Aniza  Yezierska  lives  in  Los  Angeles  a  part 
of  her  time.  Altho  this  immigrant  woman 
wrote  because  she  just  had  to,  she  confesses  that 
writing  "comes  hard"  for  her.  She  says  every 
story  is  a  life  and  death  struggle. 

For  the  most  part,  the  authors  work  about 
four  hours  a  day.  One  among  them  occasion- 
ally works  eight  or  ten.  Sometimes  when  he  is 
in  the  heat  of  a  story,  he  stays  at  his  typewriter 
all  night.  This  is  Gordon  Ray  Young,  writer 
of  South  Sea  Stories.  Unlike  Harold  Bell 
Wright,  Mr.  Young  seldom  knows  what  his 
stories  are  to  be  about  when  he  begins  them. 

Gouverneur  Morris  mingles  tennis  with  writ- 
ing. He  works  in  the  morning,  plays  tennis 
in  the  afternoon,  then  has  another  whack  at 
the  story.  He  says  nothing  clears  up  his  ideas 
like  tennis.  If  he  finds  a  story  is  not  going  well, 
he  always  takes  up  his  racquet  and  fairly  bangs 
the  inspiration  in  the  nose  until  it  will  behave 
as  it  should. 

A  picturesque  member  of  the  Colony  is 
Konrad  Bercovici.  He  is  a  Roumanian  and  for 
a  long  time  lived  with  Gypsies  of  that  country. 
From  the  fireside  tales  he  heard  the  old  Gypsies 
tell,  he  learned  the  art  of  story-telling.  Not 
consciously  however.  His  ambition  was  to  be- 
come a  concert  violinist.  He  made  his  way 
to  America  where,  to  keep  the  wolf  from  the 
door,  he  wrote  a  story  of  his  old  Gypsy  life.  It 
was  eagerly  grabbed  up.  The  editors  called 
for  more.  Bercovici,  in  two  years,  has  become 
one  of  the  highest  paid  magazine  writers  in 
the  world.  He  says  that  Los  Angeles  is  the 
ideal  place  to  write — or  would  be  if  he  and 
Charley  Chaplin  were  not  friends.  Chaplin 
gets  him  over  at  his  house  and  they  sit  up  all 
night    talking. 

Elinor  Glyn  lives  at  a  Los  Angeles  hotel.  All 
her  writing  is  done  at  night.  While  the  divine 
fire  is  burning  she  rides  around  in  an  automobile 
nearly  all  day  and  comes  back  for  the  soul 
struggle  at  dewy  eve.  She  mingles  socially  a 
great  deal  in  Los  Angeles.  One  of  her  pecu- 
liarities is  her  hatred  for  turnips.  On  one 
occasion  she  indignantly  left  a  dinner-table 
where  the  heinous  vegetables  were  served.  She 
regarded   it  as   a  personal   insult. 

I  have  saved  a  surprise  for  the  last.  One  of 
the  most  practical,  money-making,  knock-'em- 
dead,  sure-fire  writing  successes  at  the  literary 
colony  is  the  most  fastidious  and  temperamental 
in  his  methods :  Richard  Walton  Tully.  He  is 
the  author  of  "The  Bird  of  Paradise,"  "The 
Rose  of  the  Rancho,"  and  many  big  hits  on  the 
stage  and  screen ;  but  his  writing  is  always 
done  to  music.  He  says  it  is  simply  impossible 
for  him  to  write  unless  a  tune  is  being  un- 
raveled. Ordinarily  a  phonograph  will  do  the 
work,  but  Mr.  Tully  confesses  with  a  rueful 
smile  that  he  has  several  times  had  a  string 
orchestra  sent  to  his  house  to  play  in  the  room 
adjoining  his  study  when  he  had  a  difficult 
climax  to  compose. 


Page  Seventv-Six 


Si-IADOWLAND 


Hayley  Lever, 
Individualist 

(Continued  from  page  11) 

Lever.  The  houses,  the  harbor,  the  water,  the 
masts  picking  angular  patterns  into  the  sky, 
the  boats  riding  restlessly  at  anchor,  all 
enveloped  in  the  elusive  atmosphere  of  Corn- 
wall— no  one  has  caught  these  things  as  Hayley 
Lever  has  caught  them,  or  put  down  so  much 
of  their  peculiar  life  and  vitality. 

An  American  painter  who  recently  visited 
St.  Ives,  writes  :  "I  saw  the  boats  dancing  in 
St.  Ives  harbor.  But  they  dont  dance  any 
better  than  Lever's." 

That  statement  illuminates  one  side  of 
Lever's  work :  the  feeling  for  movement,  for 
the  authentic  vibration  of  living  things  that  we 
find  in  his  pictures.  His  waters  move  and  vi- 
brate in  the  light.  His  trees  feel  the  impact 
of  the  winds.  The  light  quivers  and  glows 
upon  the  earth. 

Look  at  Smeaton's  Quay,  St.  Ives,  with  the 
white  quay  sweeping  out  into  the  water  to  meet 
the  dark  hill,  the  boats  nodding  restlessly  all 
around.  Or  Harbor,  St.  Ives,  with  its  slowly 
undulating  hill,  the  angular  houses,  and  in  the 
foreground  the  jolly,  dancing  boats.  Or 
Morning,  St.  Ives  Harbor,  which  won  the 
Sesnan  medal  at  Philadelphia  in  1917. 

St.  Ives  and  Lever  have  almost  become 
synonymous.  But  Lever  has  painted  many 
other  places.  After  a  period  of  work  and  study 
at  St.  Ives  he  went  to  Paris,  where  he  spent 
two  years.  Later  he  went  to  London,  and 
twelve  years  ago  he  came  to  America. 

Gloucester  first  attracted  him  here.  Among 
its  winding  streets  and  gardens  brilliant  with 
masses  of  flowers,  its  square  cottages  sur- 
rounded by  gnarled  trees,  and  the  water  and  the 
boats  under  the  dark  blue  sky  of  Cape  Ann, 
he  found  interesting  material  for  his  art. 
Flower  Garden,  Gloucester,  is  an  excellent 
example,  its  earth  bursting  with  life,  and 
light-saturated  waters.  New  York,  too,  has 
furnished  him  with  subjects.  Fifth  Avenue  is 
a  fresh  impression  of  a   familiar  view. 

At  the  moment,  Lever  is  in  Woodstock, 
teaching  at  the  Art  Students'  League's  summer 
school.  Already  he  has  made  stacks  of  water- 
color  studies  of  the  Catskills,  and  we  may  ex- 
pect that  delightful  bit  of  the  American  land- 
scape to  be  added  very  soon  to  Lever's  country. 

Lever's  work  shows  good  use  of  color,  ex- 
cellent draughtsmanship  and  arrangement  of 
masses,  and  a  fine  feeling  for  the  suggestion  of 
life  and  movement.  He  is  a  true  catholic  in 
his  appreciations,  and  is  able  to  become  enthu- 
siastic over  art  from  the  antique  to  the  ultra- 
modern, not  forgetting  the  Oriental.  A  man 
may  draw  inspiration  from  all  sources,  he  be- 
lieves. The  only  deadly  sin  is  imitation.  Those 
who  know  Lever's  work  will  realize  how  little 
of  a  sinner  he  is — in  this  respect. 

His  work  is  represented  in  many  museums  in 
America  and  abroad :  in  the  Corcoran  Gallery 
at  Washington,  the  Pennsylvania  Academy  of 
Fine  Arts,  the  Detroit  Museum,  the  Duncan 
Phillips  Memorial  Collection,  thp  New  South 
Wales  National  Art  Gallery,  to  mention  a  few. 
He  has  taken  many  prizes :  the  silver  medal 
of  the  National  Arts  Club  in  1914,  the  Carnegie 
Prize  of  the  National  Academy  of  Design  in 
the  same  year,  the  gold  medal  at  the  National 
Arts  Club  in  1915,  the  gold  medal  at  the 
Panama  Pacific  Exposition  in  the  same  year, 
and  the  Philadelphia  Water  Color  prize  in  1918, 
and  several  others.  He  is  a  member  of  the 
National  Arts  Club,  the  New  Society  of 
Artists,  and   several   British   art   societies. 

Hayley  Lever  believes,  and  his  work  illus- 
trates his  belief,  that  a  man  must  not  be  afraid 
to  record  his  impressions  honestly,  without  re- 
gard to  how  others  have  recorded  similar  im- 
pressions. He  has  no  patience  with  the  pre- 
tentious lucubrations  of  mere  scholasticism. 
There  are  those  who  shun  the  scholasticism  of 
tradition  only  to  put  themselves  to  school  to 
the  fads  of  the  moment,  the  scholasticism  of 
the  vulgar. 

Ho !  for  more  good,  active  truants  from  these 
eternal  art  sects.  Ho !  for  more  Hayley 
Levers,  more  men  who  realize  that  all  art  is 
lyrical — a  song  of  the  individual  spirit  in  the 
dark  forest  of  the  world. 


Are  We  a  Nation  of  Low-Brows? 

It  is  charged  that  the  public  is  intellectually  incompetent.     Is  this  true?     It  is  charged 

thzd  the  public  is  afraid  of  ideas,  disinclined  to  think,  unfriendly  to  culture.     This  is 

a  serious  matter.     The  facts  should  be  faced  frankly  and  honestly. 


Without  Cultural     Leadership, 

The  main  criticism,  as  we  find  it, 
is  that  the  people  support  ventures 
that  are  unworthy,  that  represent  no 
cultural  standards.  The  public  is  fed 
on  low-brow  reading  matter,  low-brow 
movies,  low-brow  theatrical  produc- 
tions, low-brow  music,  low-brow  news- 
papers, low-brow  magazines.  We  think 
the  criticism  is  unfair  in  that  it  does 
not  recognize  the  fact  that  the  public 
is  without  cultural  leadership.  Those 
who  have  the  divine  spark  get  off  by 
themselves.  We  believe  the  public  has 
never"  had  a  real  chance,  never  had 
an  opportunity  to  get  acquainted  with 
the  great  and  the  beautiful  things  of 
life.  Given  half  a  chance,  the  public 
will  respond. 

We  believe  there  has  been  enough 
talk    about   the   public's    inferior    taste. 


The  time  has  come  to  give  the  public 
an  opportunity  to  find  out  something 
about  philosophy,  science  and  other 
higher  things.  And  it  must  be  done 
at  a  low  price,  because  the  average 
person's  pocketbook  is  not  fat.  As 
it  stands,  the  publishers  charge  about 
five  dollars  a  volume,  and  then  won- 
der   why    the    people    stand    aloof. 

We  believe  we  have  a  way  to  find 
out  if  the  people  are  interested  in 
the  deeper  problems  of  life.  And 
the  first  thing  we  decided  was  to 
fix  a  price  that  shall  be  within  the 
reach  of  the  person  with  the  most 
slender    purse. 

We  have  selected  a  library  of  25 
books,  which  we  are  going  to  offer 
the  public  at  an  absurdly  low  price. 
We  shall  do  this  to  find  out  if  it 
is  true  that  the  public  is  not  going 
to     accept     the     better     things     when 


once     given     the     chance.       And  we 

shall    make    the    price    so    inviting  that 

there      shall      be     no     excuse     on  the 
ground   of   ex-pense. 

All  Great   Things    Are  Simple 

Once  the  contents  of  the  following 
25  books  are  absorbed  and  digested, 
we  believe  a  person  will  be  well  on 
the  road  to  culture.  And  by  culture 
we  do  not  mean  something  dry-as- 
dust,  something  incomprehensible  to 
the  average  mind — genuine  culture, 
like  great  sculpture,  can  be  made  to 
delight  the  common  as  well  as  the 
elect.  The  books  listed  below  are  all 
simple  works  and  yet  they  are  great 
— all  great  things  are  simple.  They 
are  serious  works,  of  course,  but  we 
do  not  think  the  public  will  refuse 
to  put  its  mind  on  serious  topics. 
Here   are   the   25   books : 


Are  the  People  Ready  to  Read  These  25  Books? 


Schopenhauer's  Essays.  For  those  who 
regard  philosophy  as  a  thing  of  abstrac- 
tions, vague  and  divorced  from  life,  Schop- 
enhauer  will   be   a   revelation. 

The  Trial  and  Death  of  Socrates. 
This  is  dramatic  literature  as  well  as  sound 
philosophy. 

Meditations  of  Marcus  Aurelius. 
This  old  Roman  emperor  was  a  paragon  of 
wisdom  and  virtue.     He  will  help  you. 

The  Discovery  of  the  Future.  H. 
G.  Wells  asks  and  answers  the  question:  Is 
life  just  an  unsolvable,   haphazard  struggle? 

Dialogues  of  Plato.  This  volume  takes 
you  into  Plato's  immortal  circle. 

Foundations  of  Religion.  Prof.  Cook 
asks  and  answers  the  question:  Where  and 
how  did  religious  ideas  originate? 

Studies  in  Pessimism.  Schopenhauer 
presents  a  well-studied  viewpoint  of  life. 
The    substance    of    his    philosophy. 

The  Idea  of  God  in  Nature.  John 
Stuart   Mill.      How    the    idea    of    God    may 


come  naturally  from  observation  of  nature  is 
explained  in  this   volume. 

Life  and  Character.  Goethe.  The 
fruits  of  his  study  and  observation  is  ex- 
plained in  this  volume. 

Thoughts  of  Pascal.  Pascal  thought 
a  great  deal  about  God  and  the  Universe, 
and  the  origin   and  purpose  of  life. 

The  Olympian  Gods.  Tichenor.  A 
study   of  ancient    mythology. 

The  Stoic  Philosophy.  Prof.  Gilbert 
Murray.  He  tells  what  this  belief  consisted 
of,  how  it  was  discovered,  and  what  we  can 
to-day   learn   from    it. 

God:  Known  and  Unknown.  Samuel 
Butler.     A  really  important  work. 

Nietzsche:  Who  He  Was  and  AVhat 
He  Stood  For.    A  carefully  planned  study. 

Sun  Worship  and  Later  Beliefs. 
Tichenor.  A  most  important  study  for 
those  who  wish  to  understand  ancient  reli- 
gions. 

Primitive  Beliefs.    Tichenor.    You  get 


a  clear  idea  from  this  account  of  the  beliefs 
of  primitive  man. 

Three  Lectures  on  Evolution. 
Ernst  Haeckel's  ideas  expressed  so  you  can 
understand   them. 

From  Monkey  to  Man.  A  compre- 
hensive review   of   the  Darwinian  theory. 

Survival  of  the  Fittest.  Another 
phase   of  Darwinian   theory. 

Evolution  vs.  Religion.  You  should 
read   this   discussion. 

Reflections  on  Modern  S  c  i  e  n  c  e. 
Prof.  Huxley's  reflections  definitely  add  to 
your  knowledge. 

Biology  and  Spiritual  Philosophy. 
An  interesting   and  instructive  work. 

Bacon's  Essays.  These  essays  con- 
tain   much    sound   wisdom    that   still   holds. 

Emerson's  Essays.  Emerson  was  a 
friend  of  Carlyle,  and  in  some  respects  a 
greater   philosopher. 

Tolstoi's  Essays.  His  ideas  will  direct 
you  into  profitable  paths  of  thought. 


25  Books— 2,176  Pages— Only  $1.95— SendNoMoney 


If  these  25  books  were  issued  in  the 
ordinary  way  they  might  cost  you 
as  much  as  a  hundred  dollars.  We 
have  decided  to  issue  them  so  you 
can  get  all  of  them  for  the  price 
of  one  ordinary  book.  That  sounds 
inviting,  doesn't  it?  And  we  mean 
it,  too.  Here  are  25  books,  contain- 
ing 2,176  pages  of  text,  all  neatly 
printed  on  good  book  paper,  'Sl/2^5 
inches  in  size,  bound  securely  in  card 
cover  paper. 

You  can  take  these  25  books  with 
you  when  you  go  to  and  from  work. 
You  can  read  them  in  your  spare 
moments.  You  can  slip  four  or  five 
of  them  into  a  pocket  and  they  will 
not  bulge.  You  can  investigate  the 
best  and  the  soundest  ideas  of  the 
world's  greatest  philosophers — and  the 
price  will  be  so  low  as  to  astonish 
you.  No,  the  price  will  not  be  $25 
for  the  25  volumes.  Nor  will  the 
price   be   $5.      The   price  will   be   even 


less  than  half  that  sum.  Yes,  we 
mean  it.  Believe  it  or  not,  the  price 
will  be  only  $1.95  for  the  entire 
library.  That's  less  than  a  dime  a 
volume.  In  fact,  that  is  less  than 
eight  cents  per  volume.  Surely  no  one 
can  claim  he  cannot  afford  to  buy 
the  best.  Here  is  the  very  best  at 
the  very  least.  Never  were  such  great 
works  offered  at  so  low  a  price. 
All  you  have  to  do  is  to  sign  your 
name  and  address  on  the  blank  be- 
low. You  don't  have  to  send  any 
money.  Just  mail  us  the  blank  and 
we  will  send  you  the  25  volumes  de- 
scribed on  this  page — you  will  pay 
the  postman  $1.95  plus  postage.  And 
the   books   are   yours. 

If  you  want  to  send  cash  with 
order  remit   $2.25. 

Are  we  making  a  mistake  in  ad- 
vertising works  of  culture?  Are  we 
doing  the  impossible  when  we  ask 
the     people     to     read     serious     works? 


Are  we  wasting  our  time  and  money? 
We      shall      see      by      the     manner      in 
which     the    blank     below    comes     into 
our   mail. 
—  —  ""■Send  No  Money  Blank  «••■ 

Haldeman-Julius  Company, 

Dept.  K-24,  Girard,  Kans. 
I  want  the  25  books  listed  on  this 
page.  I  want  you  to  send  me  these 
25  books  by  parcel  post.  On  de- 
livery I  will  pay  the  postman  $1.95 
plus  postage,  and  the  books  are  to 
be  my  property  without  further  pay- 
ments of  any  kind.  Also,  please 
send  me  one  of  your  free  64-page 
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Note:  Persons  living  in  Canada  or 
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^geei\itv 


Distinctive  Features  in  the  December  Number 


'If  I  Were  Fourteen," 

by  Lillian  Montanye 


"The  Beauty  Parlor," 
by  Dorothy  Calhoun 

and  Gladys  Hall 


Additional  Features 

by  Artists  and  Experts 


The  first  article  of  a  very  human  and  penetrating  series  that  will 
appeal  to  all  women — from  the  Flapper  to  the  Grandmother.  "Why, 
that's  exactly  how  I'm  feeling  and  thinking  right  now  !"  Miss  Four- 
teen will  exclaim  as  she  reads  this  sane,  sympathetic  narration.  "If  I 
Were  Twenty-One"   follows,   in   the  January   number. 

A  one-act  play  that  will  give  you  many  a  chuckle  and  make  you  think, 
as  well.  A  group  of  sophisticated  New  York  specialists  open  a 
Beauty  Shop  in  a  Middle-Western  town.  Wives  are  made  over  and 
husbands  wake  up  !     And  you'll  never  guess  the  surprise  climax  ! 

Part  II  of  "The  Place  of  the  Beauty  Specialist  in  the  Community," 
by  Mme.  Helena  Rubinstein,  the  woman  at  the  top  of  her  profession. 
An  illustrated  article  that  settles  your  question :  "Shall  I  bob  my 
hair?"  A  portfolio  of  exquisite  ladies,  photographs  of  chic  Parisian 
costumes,  beautiful  color  prints,   sketches,   etc. 


Page  Seventy-Seven 


£lue>owwand 


DONT  LOOK  LIKE  A  PAINTING! 


Extract  From 

JXCOTION  "PICTURE 
MAGAZINE 

I  have  tried  about  every  powder 
on  the  market  and  have  done 
considerable  experimenting  on 
myself  and  on  others.  There  is 
no  denying  that  there  are  several 
very  fine  powders  on  the  market. 
but-  I  felt  that  none  just  suited 
me,  and  so  I  determined  to  make 
one  that  did.  You  see,  in  the 
first  place,  I  had  some  very  pe- 
culiar ideas  about  the  complexion 
and  was  very  hard  to  please.  I 
am  very  particular  about  tints 
and  staying  qualities,  and  I  want 
a  powder  that  does  not  look  like 
powder,  that  will  not  blow  off  in 
the  first  gust  of  wind,  that  is  not 
too  heavy  nor  too  light,  that  will 
not  injure  the  complexion,  and 
that  will  not  change  color  when 
it  becomes  moist  from  perspira- 
tion or  from  the  natural  oil  that 
comes  thru  the  pores  of  the  skin. 
I  also  like  a  pleasant  aroma  to 
my  powder,  and  one  that  lingers. 
After  experimenting  with  pow- 
dered starch,  French  chalk,  mag- 
nesia carbonate,  powdered  orris 
root,  rice  powder,  precipitated 
chalk,  zinc  oxide,  and  other 
chemicals,  and  after  consulting 
authorities  as  to  the  effects  cf 
each  of  these  on  the  skin,  T 
finally  settled  on  a  formula  that 
has  been  tried  out  under  all 
conditions  and  that  suits  me  to 
a  nicety.  And,  most  important 
of  all,  perhaps,  this  powder  when 
finally  perfected  had  the  remark- 
able quality  of  being  equally  good 
for  the  street,  for  evening  dress 
and  for  motion  picture  make-up. 
I  use  the  same  powder  before  the 
camera  for  exteriors  and  interi- 
ors, and  for  daily  use  in  real  life. 
So  do  many  of  my  friends,  and 
they  all  tell  me  that  they  will  use 
no  other  so  long  as  they  can  get 
mine.  As  to  the  tint,  it  is  a 
mixture  of  many  colors.  I 
learned  from  an  artist  years  ago 
that  there  are  no  solid  flat  colors 
in  nature.  Look  carefully  at 
anything  you  choose  and  you  will 
see  every  color  of  the  rainbow  in 
it.  Take  a  square  inch  of  sky,  for 
instance,  and  examine  it  closely 
and  you  will  find  every  color 
there.  Just  so  with  the  face.  Any 
portrait  painter  will  tell  you  that 
lie  uses  nearly  every  color  when 
painting  flesh.  Nothing  is  white 
— not  even  snow,  because  it  re- 
flects every  color  that  is  around 
it.  White  face  powder  is  absurd. 
White  is  not  a  color.  The  general 
tone  of  my  powder  is  something 
like  that  of  a  ripe  peach,  and  1 
therefore  call  it  "Corliss  Palmer 
Peach    Bloom    Powder." 


USE  a  powder  that  is  individual  in  color  and 
quality  and  prove  that  beauty  is  yours. 

We  recommend  this  powder  to  you !  You — 
who  love  the  beautiful ! 

One  shade — the  peach  bloom — has  proved  un- 
equalled in  day  attire,  evening  dress  and  before 
the  camera. 

Wonderful  as  to  its  even  texture,  lovely  in  its  fragrance,  and  unusual  in  its 
sticking  quality. 

Be  natural — use  the  shade  of  powder  to  blend  with  the  flesh  color  of  nature. 

Corliss  Palmer  Powder 

Price  One  Dollar  the  Box 

A  written  description  is  useless — -a  trial  proves  the  truth ! 

Remember  that  we  have  the  exclusive  selling  rights  to  Corliss  Palmer  Powder. 

Send  a  dollar  bill  or  one-cent  or  two-cent  stamps  and  we  will  mail  you  a  box 
of  this  exquisite  powder. 


WILTON  CHEMICAL  CO. 


BROOKLYN,  N.  Y. 


Cut  out  and  mail  today 

WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 

For  the  enclosed  One  Dollar  please  send  me  a 
box  of  CORLISS  PALMER  POWDER. 

N  ame 

Street     

City   and   State 


The  Camera  Contest 

(Continued  from  page  54) 

Monthly  prizes  of  at  least  $25,  $15,  and  $10 
are  awarded  in  order  of  merit,  together  with 
three  prizes  of  yearly  subscriptions  to  Shadow- 
land  to  go  to  three  honorary  mentions.  All 
prize  winning  pictures  will  probably  be  pub- 
lished in  Shadowland. 

The  committee  of  judges  includes : 

Joseph  R.  Mason,  chairman  of  committee, 
Corresponding  Secretary  P.  P.  A. ;  Eugene  V. 
Brewster,  Editor  and  Publisher  of  Shadow- 
land  ;  Louis  F.  Bucher,  Secretary  Associated 
Camera  Clubs  of  America;  Dr.  A.  D.  Chaffee, 
President  of  P.  P.  A. ;  Arthur  D.  Chapman, 
Advisory  Committee  P.  P.  A. ;  G.  W.  Harting, 
Advisory  Committee  P.  P.  A. ;  Dr.  Chas.  H. 
Jaeger,  contributing  member  Pittsburgh  and 
Los  Angeles  Salons ;  Miss  Sophie  L.  Lauff  er, 
Secretary  Dept.  of  Photography,  Brooklyn  In- 
stitute of  Arts  and  Science ;  George  P.  Lester, 
Member  P.  P.  A.  and  Orange  Camera  Club ; 
Nickolas  Muray,  portrait  photographer ;  John 
A.  Tennant,  Editor  and  Publisher  of  Photo 
Miniature ;  Miss  Margaret  Watkins,  ex-Record- 
ing Secretary  P.  P.  A. ;  Clarence  H.  White, 
ex-President  P.  P.  A. 

The  jury  of  selection,  to  be  announced  each 
month  with  their  selections,  consists  of  three 
members,  to  be  chosen  from  the  committee  or 
the  membership  of  the  society.  No  member  of 
the  jury  thus  chosen  for  any  given  month  shall 
submit  pictures   for   that  month's  contest. 

Shadowland  desires  that  every  camera  en- 
thusiast reap  benefit  from  this  contest  and  to 
this  end  makes  the  inclusion  of  the  following 
data  re  contesting  prints  imperative : 

(a)  Date  and  hour  of  exposure. 

(b)  Stop  number  used. 

(c)  Printing    medium    used. 

(d)  Character  of  print — whether  straight 
or  manipulated. 

(e)  Make  of  camera  and  lens. 

Any  print  previously  published  is  not  eligible. 

No  printing  medium  is  debarred,  but  capa- 
bility of  good  reproduction  will  be  a  factor  in 
the  selection  of  prints. 

Contestants  may  submit  prints  up  to  any  num- 
ber and  to  as  many  of  the  monthly  contests  as 
they  desire. 

Prints  received  on  or  prior  to  the  first  of 
each  month  to  be  considered  entered  in  that 
month's  contest. 

Name  and  address  of  maker,  title  and  num- 
ber must  be  printed  or  plainly  written  upon  the 
back  of  each  print.  Return  address  to  be 
written  plainly  upon  package. 

Prints  must  be  packed  flat.  A  small  mount 
makes  for  safety  in  handling  but  is  not  re- 
quired. Prints  will  be  acknowledged  upon  their 
receipt. 

Rejected  prints  will  be  returned  immediately, 
provided  proper  postage  for  the  purpose  be  in- 
cluded. It  is,  however,  understood  that 
Shadowland  reserves  the  right  to  reproduce 
any  print  submitted  and  to  hold  such  for  a 
reasonable  time   for  that  purpose. 

Special  care  will  be  taken  of  all  prints  sub- 
mitted, but  neither  The  Brewster  Publications 
nor  the  Pictorial  Photographers  of  America 
assume  responsibility   for  loss  or  damage. 

All  prints  and  all  communications  relative  to 
the  contest  are  to  be  sent  to  Joseph  R.  Mason, 
Art   Center,  65   East  56th   Street,  New  York. 

No  prints  will  be  considered  if  sent  elsewhere 
than  stated  above.  Submission  of  prints  will 
imply  acceptance  of  all  conditions. 


ANNOUNCEMENT 

The  Tenth  Annual  Exhibition  of  the  Pitts- 
burgh Salon  of  Photography,  under  the  aus- 
pices of  the  Photographic  Section  of  the 
Academy  of  Science  and  Art,  will  be  held  in 
the  Galleries  of  the  Carnegie  Institute,  Pitts- 
burgh, Pennsylvania,  from  March  2nd-31st, 
inclusive,  1923. 

The  last  day  for  receiving  prints  for  entry 
is  Monday,  February  5th.  Information  con- 
cerning the  conditions  of  entry  can  be  ob- 
tained from  Charles  K.  Archer,  Secretary,  1412 
Carnegie    Building,    Pittsburgh,    Penn. 


Page  Seventy-Eight 


EDWARD    LANGER    PRINTING    CO.,  INC., 
JAMAICA,     NEW     YORK     CITT. 


A  MAGAZINE  to  help  every  woman  to  be  more  beautiful  than  she  is  and  then  help  her 
to  preserve  that  beauty.  Every  woman  wants  beauty:  a  strong,  healthy  body;  grace; 
charm ;  a  spirited,  active  mind.  She  knows  that  some  are  born  beauties — others  have 
it  thrust  upon  them.  What  she  does  not  know  is  that  all  may  attain  it  if  they  will.  A 
few  years  ago,  those  who  used  cosmetics  in  any  ,  form  were  called  "painted  ladies." 
Those  who  went  systematically  thru  forms  of  exercise  to  improve  their  figures  were  "vain." 
Now,  the  use  of  cosmetics  is  universal.  Physical  culture  is  a  habit.  Every  woman  knows  that 
she  must  look  her  best.  She  not  only  tries  to  assist  nature,  but  to  improve  it.  This  is  where  the 
new  magazine  <|^©el"ut\ 


tv*  comes  in. 


Elsie  Ferguson 
Pauline  Frederick 


LILLIAN  MONTANYE, 

Editor 
Editorial   Advisory   Board 

Corliss  Palmer 
Alla  Nazimova 


Katherine  MacDonald 
Jeanette  Pinaud 


4%G<a\ltv*    magazine  is  the  modern 


Pandora  s  Box 

We  have  gathered  about  us  some  of  the  world's  greatest  authorities,  and  are  supplying  our  read- 
ers with  the  best  and  most  authoritative  information  on  all  subjects  that  pertain  to  personal 
beauty.  Famous  beauties  of  stage  and  screen,  society  beauties,  beauty  parlor  experts,  celebrated 
dermatologists,  many  well-known  notables  are  contributing   to   its   pages.     A   special   feature   is 

The  Beauty  Box 

conducted  by  Corliss  Palmer  who,  as  winner  of  the  1920  Fame  and  Fortune  Contest,  was  ad- 
judged the  most  beautiful  girl  in  America.  This  is  an  Answer  Man  department  in  which  Miss 
Palmer  answers  all  questions  on  the  proper  use  of  cosmetics  and  on  everything  pertaining  to 
beautifying  the  human  face  and  form  divine.     She  also  makes  a  special  plea  for 

Physical  Beauty 

the  importance  of  the  care  of  the  body  itself ;  the  significance  of  health ;  the  wholesome  charm 
of  a  strong,  well-poised  body.  Each  issue  contains  a  hundred  aids  to  grace  and  beauty — in- 
numerable little  "nothings"  that  count  greatly  in  the  end.  4*W<&\<ltVf  's  tne  Open  Sesame  to 
love,  joy,  life  and  all  the  dear  emotions  that  so  many  have  to    \J  ts~~  pass  by  because   they 

have  not  discovered,  the  sweet  secret  of  pleasing.  4*WeVutVf  ls — m  itself — 

A  Thing  of  Beauty 

a  second  SHADOWLAND  in  its  artistry.  It  contains  reproductions  of  famous  paintings  in 
all  their  original  colors,  suitable  for  framing;  beautiful  photographs,  in  color,  of  famous  beau- 
ties of  this  and  other  lands  which  make  charmingly  decorative  pictures  for  the  boudoir.  From 
cover  to  cover  rf^Gcrutvj     's  picturesque,   artistic,  colorful.     It  is 

A   Magazine  That  Every  Woman  Wants 

and  that  every  man  wants  his  wife,  daughter,  sister  or  sweetheart  to  have.  There  are  magazines 
of  fashion,   art,  fiction,  politics,  homes  and  gardens — but  until  a  few  months  ago  no  one  had 

thought  of  devoting  a  whole  magazine  to  beauty. 

i 

Dont  Forget  to  Order  from   Your  Dealer 

There  is  always  a  rush — sometimes  a  real  scrimmage  when  4*WerutVf  comes  out.  The  price 
is  only  25  cents  a  copy  or  you  may  subscribe  at  the  rate  of    1/  c^  $2.50  a  year. 

/[^©ei'utVf    is  on  the  stands  the  8th  of  each  month. 

BREWSTER  PUBLICATIONS,  INC.    -    -     Brewster  Buildings,  Brooklyn,  N.  Y. 


ml 


& 


mm 


llillllllllllllllllllllllljlllpai 


Moments  Which  Count 


When  you  are  conscious  of  the  scru- 
tiny of  interested  eyes  which  appraise 
everydetailbf  your  appearance,  can  you 
sit  serene, secure  in  the  consciousness 
that  there  is  nothing  to  criticise  but  every- 
thing to  admire  ? 

Happy  is  the  girl  who  can  answer 

yes"  in  these  all  important  moments. 

She  is  the  girl  who  knows  that  her  fresh, 

clear  skin  and  smooth,  white  neck  and 

arms  are  sure  to  command  admiration. 

The  girl  who  is  not  so  sure  of  her 
personal  attractiveness,  who  is  conscious 
that  complexion  defects  may  affect  her 
popularity,  should  waste  no  time  rem- 
edying these  conditions.  The  secret  is 
cosmetic  cleanliness,  which  keeps  the 
skin  free  from  clogging  accumulations. 

Once  a  day,  do  this 

Once  a  day,  preferably  at  bed-time, 
give  your  face  a  thorough 
cleansing.    This   doesn't 
mean   a  harsh,  irritating 
scrub,  but  a  cos- 
metic cleansing 
accomplished 
by  the  gentlest 
possiblemeans. 


Soap  is  necessary,  butonly  the  mildest 
soap  should  be  used.  This  is  Palmolive, 
blended  from  palm  and  olive  oils. 

Onceyou  experience  the  mild,  sooth- 
ing effect  of  its  smooth,  creamy  lather 
you  will  recognize  daily  cleansing  as  the 
surest  complexion  beautifier. 

Removal,  once  a  day,  of  the  accumu- 
lations of  dirt,  oil,  perspiration  and  the 
remaining  traces  of  cold  cream  and 
powder  is  absolutely  essential  to  a  clear, 
fresh  skin. 

Neglect  results  in  clogged  pores, 
coarse  texture  and  blackheads.  When 
the  accumulated  soil  carries  infection, 
pimples  are  the  result. 

An  ancient  secret 

The  value  of  beautifying  cleansing 
was  discovered  long  ago,  in  the  days  of 
ancient  Egypt.  It  was  Cleopatra's  secret 
—  whatever  the  embellishments  she 
employed,  they  were  applied  after  the 
daily  bath  with  palm  and  olive  oils  as 
cleansers. 

The  great  queen  was  famous  for  her 
beauty  long  after  early  youth  was  passed. 
She  kept  her  looks  with  the  aid  of  the 


same  gentle,  stimulating  cleansing  which* 
we  recommend  today. 

Blended  from  the  same  oils 

Palmolive  is  blended  from  the  same 
costly  oriental  oils  which  served  Cleo- 
patra as  cleanser  and  beautifier.  We 
import  them  from  overseas  in  vast  quan- 
tity to  keep  the  Palmolive  factories  at 
work  day  and  night.  This  is  necessary 
to  supply  the  world-wide  demand. 

This  popularity  has  reduced  price, 
as  manufacturing  volume  permits  econ- 
omies which  lower  production  costs. 
Thus  we  are  able  to  supply  Palmolive 
for  only  10  cents  a  cake. 

Sowhile  Palmolive  ranks  first  as  finest 
facial  soap,  you  can  afford  to  follow  Cleo- 
patra's example  and  use  it  for  bathing. 

Complexion  beauty  does  not  end 
with  the  face.  Beautify  your  body  with 
Palmolive. 

Volume  and  efficiency  produce 
25-cent  quality  for 


r\rSr~?bf 


THE  PALMOLIVE  COMPANY,  MILWAUKEE,   U.  S.  A. 

THE  PALMOLIVE  COMPANY  OF  CANADA.  Limited,  TORONTO,  CANADA 
Also  makers  of  Palmolive  Shampoo  and  Palmolive  Shaving  Cream 

Copyright  1922-The  Palmolive  Co.    166 


Br.it  Litho.  Co..  N.  Y. 


^^m^  DECEMBER  35<2 

*UAE>OWbANE> 


EXPRESSING  THE  ARTS 


A  Magazine  of  Beauty  Secrets  for  Every  Woman 


A  MAGAZINE  to  help  every  woman  to  be  more  beautiful  than  she  is  and  then  help  her 
to  preserve  that  beauty.  Every  woman  wants  beauty:  a  strong,  healthy  body;  grace; 
charm ;  a  spirited,  active  mind.  She  knows  that  some  are  born  beauties — others  have 
it  thrust  upon  them.  What  she  does  not  know  is  that  all  may  attain  it  if  they  will.  A 
few  years  ago,  those  who  used  cosmetics  in  any  form  were  called  "painted  ladies." 
Those  who  went  systematically  thru  forms  of  exercise  to  improve  their  figures  were  "vain." 
Now,  the  use  of  cosmetics  is  universal.  Physical  culture  is  a  habit.  Every  woman  knows  that 
she  must  look  her  best.  She  not  only  tries  to  assist  nature,  but  to  improve  it.  This  is  where  the 
new  magazine  <|^©cTUtv*  comes  in. 


Elsie  Ferguson 
Pauline  Frederick 


LILLIAN  MONTANYE, 

Editor 
Editorial  Advisory   Board 

Corliss  Palmer 
Alla  Nazimova 


Katherine  MacDonald 
Jeanette  Pinaud 


/[^©■CVUtv*    magazine  is  the  modern 


Pandora  s  Box 

We  have  gathered  about  us  some  of  the  world's  greatest  authorities,  and  are  supplying  our  read- 
ers with  the  best  and  most  authoritative  information  on  all  subjects  that  pertain  to  personal 
beauty.  Famous  beauties  of  stage  and  screen,  society  beauties,  beauty  parlor  experts,  celebrated 
dermatologists,  many  well-known  notables  are  contributing  to   its  pages.     A  special   feature  is 

The  Beauty  Box 

conducted  by  Corliss  Palmer  who,  as  winner  of  the  1920  Fame  and  Fortune  Contest,  was  ad- 
judged the  most  beautiful  girl  in  America.  This  is  an  Answer  Man  department  in  which  Miss 
Palmer  answers  all  questions  on  the  proper  use  of  cosmetics  and  on  everything  pertaining  to 
beautifying  the  human  face  and  form  divine.     She  also  makes  a  special  plea  for 

Physical  Beauty 

the  importance  of  the  care  of  the  body  itself ;  the  significance  of  health ;  the  wholesome  charm 
of  a  strong,  well-poised  body.  Each  issue  contains  a  hundred  aids  to  grace  and  beauty — in- 
numerable little  "nothings"  that  count  greatly  in  the  end.  /(•Wel'utv*  's  tne  OPen  Sesame  to 
love,  joy,  life  and  all  the  dear  emotions  that  so  many  have  to    \J  &~*  pass  by  because   they 

have  not  discovered  the  sweet  secret  of  pleasing.  4^©d\ltv»  's — m  itse^ — 

A   Thing  of  Beauty 

a  second  SHADOWLAND  in  its  artistry.  It  contains  reproductions  of  famous  paintings  in 
all  their  original  colors,  suitable  for  framing;  beautiful  photographs,  in  color,  of  famous  beau- 
ties of  this  and  other  lands  which  make  charmingly  decorative  pictures  for  the  boudoir.  From 
cover  to  cover  ^©evutv*    's  picturesque,  artistic,  colorful.     It  is 

A'  Magazine  That  Every  Woman  Wants 

and  that  every  man  wants  his  wife,  daughter,  sister  or  sweetheart  to  have.  There  are  magazines 
of  fashion,  art,  fiction,  politics,  homes  and  gardens — but  until  a  few  months  ago  no  one  had 
thought  of  devoting  a  whole  magazine  to  beauty. 

Dont  Forget  to  Order  from   Your  Dealer 

There  is  always  a  rush — sometimes  a  real  scrimmage  when  /f^e.eiVitv  comes  out-  The  Pnce 
is  only  25  cents  a  copy  or  you  may  subscribe  at  the  rate  of    1/  C7-  $2.50  a  year. 

/[*^©eil'utv»    is  on  the  stands  the  8th  of  each  month. 

BREWSTER  PUBLICATIONS,  INC.    -    -     Brewster  Buildings,  Brooklyn,  N.  Y. 


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King  Richard  at  the  siege 
of  Acre,   J /'J  I  A.   D.     The 

two-year  siege  had  cost  the 
lives  of  200,000  Crusaders 
■when  Lion- Heart  came  to 
the  rescue. 


^heValue  of^Jime 


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By  l^ranos 

Paintings  by  HAROLD  DELAY 

ICHARD  THE  LION-HEARTED —"mightiest  warrior  and 
hardest  working  Crusader  in  all  Christendom" — knew  the  Value 
of  Time. 


For  two  long  years  the  city  of  Acre,  near  Jerusalem,  had  defied  the 
besieging  Crusaders  —  yet  its  walls  trembled  when  Richard  anchored 
off  the  Syrian  shore.  Lion -Heart's  great  hour  had  come  at  last.  So 
clear  was  his  vision  of  Time  as  his  ally  that  he  arose  from  a  sickbed, 
was  carried  to  the  trenches  on  a  litter,  and  with  his  own  sword  hewed 
the  fortress  from  the  infidel's  grip. 

To  this  day,  in  the  land  of  the  Saracen,  the  name  of  Richard  is  a  word 
to  conjure  with.  And  today,  as  it  was  seven  centuries  ago,  life  is  a 
battle  which  no  man  can  win  without  Father  Time  as  his  ally. 

Over  the  Time  of  the  Crusaders,  the  Saracen  water  clock  stood  guard. 
But  the  modern  world,  enriched  by  experience,  intrusts  life's  costliest 
possession  to  those  marvels  of  accuracy  which  human  ingenuity  and  skill 
now  place  within  the  reach  of  all  — 


No  timepieces  yet  created  by  the  Elgin  de- 
signers have  met  more  universal  approval  or 
achieved  such  instant  popularity  as  the  four 
new  lines  listed  below: 

New  Streamline  Series:  A  line  of  12-size 
Elgins  specially  designed  to  meet  a  wide 
variety  of  tastes  —  $35  to  $100.  (The  model 
shown  below  is  the  $35  Streamlined) 

New  Classic  Series:  Two  12-size  thin  tnodel 
Elgins  with  Lord  Elgin  movement.  In  White 
or  Green  Gold,  $150. 

New  Corsican  Series:  Three  new  models  in 
Green  and  White  Gold  combinations;  Lord 
Elgin  movement;  $175. 

New  Presentation  Series:  "The  last  word  in 
the  Gift  Idea."  C.  H.  Hulburd  movement; 
exclusive  models;  $300  to  $500. 

The  material,  construction,  adjustments 
and  service  of  all  Elgin  Watches  are  fully 
covered  by  the  Elgin  Guarantee. 


Pagr  Three 


SuiADQWtAND 


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K>      "'"ik 

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Five  Fair  F 


aces 


from  the  thousands  that  hope  to  be  reflected  in  the  American  Beauty  Mirror 

Do  You  Wish  Your  Face  Reflected  There? 


IMPORTANT 

Brewster  Publications  herewith  announces  the  closing 
date   of   the    American    Beauty    Contest — December    15, 

1922.  Any  photographs  received  bearing  a  postmark  of  a 
later  date  will  be  disregarded. 

You  still  have  time  to  become  an  entrant.  Read  the 
simple  rules  and  consider  the  splendid  rewards  that  may 
come  to  you. 

We  are  not  looking  for  a  movie  heroine,  or  a  stage  star, 
or  an  intellectual  wonder,  or  a  personality  crank.  We  are 
looking  for  Beauty — and  we  are  going  to  find  her — the  most 
beautiful  woman  in  America ! 

This  is  an  unprecedented  offer.  Do  not  fail  to  take  ad- 
vantage of  it.  Send  us  your  photograph.  That  is  all  that 
is  required  of  you.  Think  what  you  may  win — just  because 
you  happened  to  be  born  beautiful.  Scrupulous  care  will 
be  taken  of  every  picture  received.  ALL  of  them  will  be 
examined  by  the  contest  judges. 

THE  REWARDS 

To  the  woman  who  our  illustrious  judges  shall  decide  is 
the  most  beautiful  in  America,  will  be  given: 

1.  A  trip  to  New  York,  properly  chaperoned,  and  a  chance  to  take 
in  the  pleasures  which  only  that  great  city  affords :  the  opera, 
the  theaters,  our  wonderful  library,  the  famous  "East  Side,"  great 
museums,  the  celebrated  Greenwich  Village,  all  the  luxurious  and 
beautiful  shops  on  the  most  luxurious  and  beautiful  street  in  the 
world — Fifth  Avenue — and  so  on. 

2.  A  well-known  American  artist  will  paint  her  portrait. 

3.  A  representative  American  sculptor  will  model  her  head. 

4.  These  works  of  art  will  be  exhibited  in  one  of  the  leading  art 
galleries   in  New  York   City  and  elsewhere. 

5.  She  will  have  her  picture  on  the  cover  of   Beauty   magazine. 

There  will  be  a  second  prize  and  a  third  prize,  and  possibly 
more.     These  will  be  announced  later. 


REMEMBER 

The  judges  of  our  Beauty  Contest  are  well-known  artists, 
writers  and  editors. 

All  photographs  of  entrants  will  be  turned  over  to  the 
Metropolitan  Magazine,  from  which  they  will  select  photo- 
graphs to  be  used  on  the  Metropolitan  Cover  Contest. 

THE  RULES 

1.  No  photographs  will  be  returned. 

2.  No  exceptions  will  be  made  to  this  rule. 

3.  Winners  will  be  notified. 

4.  Snapshots,  strip  pictures,  or  colored  photographs  will  not  be  con- 
sidered. Outside  of  these,  any  kind  of  picture  will  be  accepted ; 
full  length  or  bust,  full  face  of  profile,  sepia  or  black.  You  may 
submit  as  many  photographs  as  you  wish. 

5.  Photographers,  artists,  friends  and  admirers  may  enter  pictures 
of  their  favorites.  Credit  will  be  given  photographers  whenever 
possible. 

6.  Do  not  ask  the  contest  manager  to  discuss  your  chances.  He  has 
nothing  to  do  with  that  end  of  it. 

7.  Do  not  write  letters.   The  close  of  the  contest  will  be  announced  in 

MOTion&icw&E.   fWvssic 

MfiGftZINB  ^^^ 


SuiADQWLAND     and     fleelNit)-? 


In  view  of  the  fact  that  the  American  Beauty  may  be 
found  in  New  York  City, 
or  its  immediate  vicinity, 
the  prize  in  her  case  will  be 
$1,000,  instead  of  the  visit 
to  New  York.     Just  think 

of  that- 


One 

Thousand 

Dollars 

($1,000) 


at  least  three  months  in  advance.  There  will  be  a  contest  story 
every  month  in  all  four  magazines,  with  all  necessary  news  and 
information. 

8.  The  most  beautiful  pictures  received  each  month  thruout  the  oper- 
ation of  the  contest  will  be  published  in  a  monthly  Honor 
Roll  in  all  four  magazines.  These  girls  will  be  notified  when, 
and  in  which  magazine  their  picture  will  appear.  This  does  not 
mean  that  they  have  necessarily  qualified  for  the  final  award, 
nor  that  those  whose  pictures  are  not  published  have  failed.  The 
winner  will  not  be  decided  upon  until  the  end  of  the  contest. 

9.  Such  a  coupon  as  the  one  below,  properly  filled  out,  must  be 
PASTED  on  the  BACK  of  every  photograph  submitted. 

10.  Be    sure    to    put    sufficient 
THE  ENTRANCE  COUPON--- :---«,  postage     on     your     photo- 


This  is  a  portrait  of : 

Name 

Address 


Age 

Color  of  Eyes. 


Weight Height 

. . . .    Hair Complexion 

subject    to    the    rules 


It    is    submitted    to    the    American    Beauty    Contest 
thereof,  by : 

Name 

Address 


postage 
graph. 

11.  The  contest  is  open  to  any 
girl  or  woman  sixteen 
years  or  older,  professional 
or  non-professional,  in 
America.  That  means  the 
whole  continent ! 

NOTE. — Any  infraction  of  these 
rules  will  cause  a  contestant  to  be 
disbarred    from    the    contest. 

Address  your  photograph : 
Contest  Manager,  Brewster 
Publications,  Inc.,  175  Duffield 
St.,  Brooklyn,  N.  Y. 


Occupation  (optional) . 


Page  Four 


HN 


22\$&        '©C1B552137 


<y 


Expressing  the  Arts 


VOLUME  VII 


The  Magazine  of  Magazines 
DECEMBER,  1922 

Cover  Design :  Allegorical   Conception    of   the   Creation   of  Pottery 
By  A.  M.  Hopfmuller 

iiiiiimiiiiimimmtiiiiiimiiiiiiiiimimiiiiiiiimiu 

Important  Features  in  this  Issue: 
Romance  in  Going  to  Sea William  McFee 

The  author  of  Command  and   Captain  Macedoine's   Daughter  writes   of  the   pull   of  the   sea 

THE  CAD  AS  HERO Kenneth  Macgowan 

The  old-fashioned  hero  of  the  theater  is  no  more;  his  successor  is  undesirable  but  entertaining 

Albert  Sterner 

Three   examples   of   his   drawings   in   chalk:    Amour   Chant,   Clare   Gwinn   and   a    Nude    Study 

The  Convenience  of  the  Novel Burton  Rascoe 

A  discussion  of  this  season's  novels  and  their  extraordinary  diversity 

CHARLES  DEMUTH Thomas  Craven 

An   artist  who   is   conscious   that   a   picture   should   be   of   a   piece,   and   not    a   collection    of 

delicate  splashes 

The  Play,  the  Part,  and  the  Time Benjamin  De  Casseres 

An  interview  with  Lola   Fisher,  who   cannot  be  lured  to  the   screen 

Heroes  or  Human  Beings? Charles  Divine 

Two  pages  of  amusing  satire  on  hero  worship,  with   cartoons  by  Henkel 

The  Wayward  Poet  of  England Llewelyn  Powys 

An  appreciation  of  the  work  of  Ernest  Dowson 

Importing  Europe's  Foremost  Stage Oliver  M.  Sayler 

The  Moscow  Art  Theatre  as  seen  thru  its  masterpiece,  Gorky's  The  Lower  Depths 

Three  Women  Poets Babette  Deutsch 

Edna  St.  Vincent  Millay,  the  Ironist;  Sara  Teasdale,  the  Lyricist;  Lola  Ridge,  the  Rebel 

The  Devil  among  the  Critics Jerome  Hart 

A  discussion  of  the  question:  "What's  the  matter  with  modern  musical  criticism?" 


Li 


f% 


T 


Number  4 


J  lit!  I  ]  11 1  llf  1 M 1 1 1 1 1 1 1 1 1 II M 1 1 1 1I 1 1 1 1 1 1 1 MUM 1 1  III 


Published   Monthly  by   Brewster   Publications,  Inc.,    at    Jamaica,  N.Y. 

Entered  at   the   Post    Office  at  Jamaica,   N.    Y.,   as  second-class   matter,    under   the    act    of   March    3rd,    1879. 

PRINTED  IN   U.   S.   A. 

Eugene    V.    Brewster,     President    and    Editor-in-Chief;    Guy    L.    Harrington,     Vice-President    and    Business    Manager;    L.    G.    Conlon,    Treasurer; 

E.    M.    Heinemann,   Secretary 

EXECUTIVE   and  EDITORIAL  OFFICES,  175   DUFFIELD   STREET,  BROOKLYN,   N.   Y. 

Elsie   Seeligmann,    Editor 


Adele    Whitely    Fletcher,    Managing    Editor 


Jerome  Hart,  Associate  Editor 


Subscription   $3.50   per   year,    in    advance,    including   postage    in   the    U.    S.,    Cuba,  Mexico  and  Philippines;   in  Canada  and  foreign  countries,   $4.50  per 
year.     Single  copies,  35  cents.     Postage  prepaid.     One  and  two  cent  United    States  Government  stamps  accepted.     Subscribers   must  notify  us  at  once 

of    any    change    of   address,    giving  both    old   and    new    address. 

Copyright,  1922,  by  Brewster  Publications,   Inc.,  in  the  United  States  and  Great  Britain 


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lJhoto  by  Edwin  Bower  Hester 


RUTH  STONEHOUSE 

For  years  with  Essanay,  she  has  now  organ- 
ized her  own  company,  where  her  loveliness 
will    be    jeatured    in    Western    productions 


ALBERTINA  RASCH 

This  charming  study  in  blues  and  browns  accentuates 
the  grace  one  always  associates  with  Albertina  Rasch 


SUNFLOWERS 

"His  flower  pieces  are  painted  with  photographic 
perfection   of   values,   and   a   remarkable   variety 
of   tone-contrasts   and  textural  distinctions" 


Paintings    by    courtesy     of 
Daniel's  Gallery,  New  York 


IN  VAUDEVILLE 

"The  vaudeville  'Caprices' 
are  tinged  with  genuine  sat- 
ire, and  the  illustrations  are 
conceived  in  the  true  fic- 
tional spirit,  but  all  the  same 
the  pictures  are  held  together 
by    an    impeccable   artistry" 


fE-XP^E-^SIlN 


nnjigr  Afl^rr-g" 


Charles  Demuth 

The  artist;  who  is  conscious  that  a  picture  should  be 
of  a  piece  and  not  a  collection  of  delicate  splashes 

By  Thomas  Craven 


MR.    DEMUTH'S    attitude  toward   his    work    is 
most  exhilarating.    When  I  asked  him,  rather 
precipitately,  for  an  opinion  on  his  art,  he  re- 
plied in  these  words : 

"With  few  exceptions,  artists  think  of  themselves  too 
constantly  as  'artists,'  or  men  of  genius — we  should  al- 
ways be  children  and 
fools." 

There  is  a  pro- 
found truth  in  that 
statement ;  that  is,  in 
the  first  part  of  it,  a 
truth  which  Chester- 
ton expressed  in 
somewhat  similar 
fashion  in  one  of  his 
essays  :  "Whistler 
thought  too  much 
about  art  to  be  a  great 
artist,  and  too  much 
about  himself  to  be  a 
great  man." 

Painting,  of  course, 
lives  thru  the  per- 
fection of  its  forms, 
but  the  relation  of  its 
emotional  appeal  to 
the  intricacies  of  the 
medium  demands  the 
written  or  spoken 
word  for  communica- 
tion. The  aesthetic  ac- 
tivity of  every  age  has 
been  attended  by  a 
body  of  appreciative 
and  expository  litera- 
ture, the  aim  of 
which,  when  legiti- 
mately applied,  has 
been  to  discover  to 
the  world  the  true 
concept  of  the  beauti- 
ful. It  is  doubtful  if 
any  period  has  been 
so  prolific  in  critical 
warfare  as  the  pres- 


ent; a  condition  arising  from  the  ferocious  efforts  of 
painters  to  connect  themselves  with  the  eternal  tradition, 
and  to  convince  the  public  that  modern  art  is  neither  mon- 
strous nor  diseased.  Such  a  verbal  outburst  is  healthy 
and  indispensable  in  so  far  as  it  concerns  fundamental 
creative  problems,  but  when  the  artist  esteems  himself 

a  genius,  it  is  time  to 
call  a  halt.  The  dif- 
ference between  the 
artist  and  the  ordi- 
nary man,  as  Croce 
has  clearly  proved,  is 
purely  quantitative :  if 
it  were  otherwise,  art 
would  be  a  very  small 
world,  forever  inac- 
cessible to  any  but  the 
chosen  few.  When- 
ever painters  begin  to 
think  of  themselves  as 
creatures  of  genius, 
their  work  becomes 
narrow,  exotic  and 
unintelligible.  Mr. 
Demuth  is  sometimes 
capricious,  but  he  is 
always  sane  and  in- 
telligible. 

He  was  born  in 
Lancaster,  Pennsyl- 
vania. His  first  for- 
mal training  was  re- 
ceived at  The  Penn- 
sylvania Academy  of 
the  Fine  Arts,  where 
he  came  under  an  in- 
fluence which  he  re- 
gards as  one  of  the 
controlling  factors  of 
his  development.  He 
was  a  pupil  of 
Thomas  Anshutz,  an 
instructor  at  the 
Academy  and  a  really 
great  teacher  —  one 
(Cont'd  on  page  78) 


Photo  by   Courtesy  of  Alfred    Stieglitz 

CHARLES  DEMUTH 


Page  Eleven 


A  little  smiling 
cottage  nestling 
in  an  orchard, 
with  its  humble 
but  happy  in- 
habitants, 
makes  a  pleas- 
ingly rustic  pic- 
ture, which  like 
its  companion 
was  exhibited 
recently  at 
the  Bookery 
Art  Gallery 


Photos  by  Eugene  V.  Brewster 


The  stately,  umbrageous  tree  which  dominates  this  peaceful  landscape, 
crossed  by  a  gently  flowing  stream,  is  a  happy  example  of  sylvan  beauty, 
while  the  warm  and  hazy  atmosphere  is  rendered  with  feeling  and  fidelity 
in   a   composition   which    makes   a   strong   appeal   to    the    artistic    eye 


Page  Twelve 


Photo  by  Dickerson 


THE  SCARF 


Page  Thirteen 


gv re   C a  vv i r\ r\    «    aeiat i <  f  vae  x.x.k i  anno 


/ra  tfcis  portrait  study  of 
Clare  Gvoinn,  Mr.  Sterner 
has  achieved  a  depth  and 
body  with  chalk  that  is 
more  usually  associated 
with  oils.  There  is  not  the 
thinness  that  is  sometimes 
apparent  in  this  medium 


Albert  Sterner  was  born  in  London  of  American  parents.  He  studied  at  Julien's  Academy  and 
the  Ecole  des  Beaux  Arts.  His  work  is  represented  in  practically  all  the  foreign  museums  and 
in  many  private  collections,  including  that  of  the  King  of  Italy.  He  came  to  America  when  he 
was  about  twenty-six  years  of  age  and  has  done  most  of  his  work  here.  These  three  examples  of 
Mr.  Sterncr's  work  show  his  significant  quality  of  line;  his  admirable  economy  of  detail  expresses 
motion  more  eloquently  than  the  most  exact  rendering.  He  stimulates  rather  than  tries  to 
complete  the  imagination.  Mr.  Sterner  is  equally  at  home  in  oils,  and  his  lithographs  are  fam- 
ous. Aliho  he  has  been  exceedingly  busy  getting  ready  for  his  exhibit  at  the  Ehrich  Galleries 
in  December,  he  has  spent  a  great  deal  of  time,  lately,  etching.  At  his  exhibit,  which  will  be 
mostly  portraits,  will  be  shown  his  recently  completed  ones  of  Mr.  and  Mrs.  Brooks  Nichols. 


Page  Fourteen 


Albert 
Sterner 


Three  examples  of  his 
drawings  in  chalk 


J 


J 


J 


AMOUR  CHANT 
Amour  Mort,  the  companion  piece 
to    the    drawing    above,    was    re- 
cently sold  to  Sir  Joseph  Duveen 


NUDE  STUDY 
Fluidity  of  line  and  movement 


• 


- 


Page  Fifteen 


Photo  by  Barakovich,  Vienna 


LIANE  HAID 

Vienna,  the  home  of  lovely  women,  claims  that 
this    film    favorite    is    loveliest    of    them    all 


Page  Sixteen 


Photo  by  d'Ora,  Vienna 


FRANCES  ALDA 

Like  Melba,  Madame  Frances  Alda  is  an  Australian  with  an 
exceptionally  lovely  voice  and  an  admirable  vocal  method.  In- 
cidentally, Madame  Alda  is  the  wife  of  the  General  Director 
of  the  Metropolitan  Opera,  where  she  shines  with  refulgence 


Page  Seventeen 


^FE^DOR  CHALIAPIN 

Wynn  gives  his  idea  how  the  famous  basso  looks  as  Boris  Godounow 


-        ■ -:     ™-    ..■■■ ■■■+■■   ■■■■■■■■■■-      *:     -,:::.  ■  ¥ 


Page  Eighteen 


Romance  in  Going  to  'Se-a 

By  William  McFee 


IN  spile  of  a  great  quantity  of  argument,  we  are 
obliged  to  come  back  to  the  old-fashioned  definition 
of  romance,  that  it  is  something  a  man  attempts  for 
the  sake  of  a  woman.  And  if  it  be  asked  then,  is  there 
any  longer  romance  in  going  to  sea,  it  must  be  confessed 
that,  in  a  general  way,  there  is  not,  because  there  are  , 
nowadays  so  many  outlets  for  the  energy  of  romantically 
minded  people,  most  of  them  much  more  remunerative  j 
than  sailing  about  on  the  ocean.  Moreover,  there  is 
really  very  little  nowadays  that  a  man  can  attempt  to  do 
for  a  woman,  for  the  simple  reason  that  women  have 
decided  that  they  prefer  to  do  all  the  difficult  things  for  ! 
themselves.  I  even  see  in  my  press-clipping  book  a  piece 
which  says  that  the  daughter  of  an  English  lord  is  trying 
to  become  a  Marine  engineer.  This  seems  to  me  to  indi- 
cate a  move  in  the  right  direction,  but  it  would  be  fatal 
to  the  ordinary  woman's  idea  that  there  is  "romance"  in 
going  to  sea.  She  would  begin,  of  course,  by  keeping  the 
twelve-to-four  watch,  and. I  for  one  would  not  like  to  be 
the  person  who  had  to  call  her  and  get  her  Out  at  midnight. 
One  of  the  most  difficult  and  dangerous  things  in  the 
world  is  trying  to  make  a  woman  get  up  when  she  doesn't 
want  to,  but  there  is  nothing  romantic  about  it.  The 
average  engineer  would  prefer  to  keep  the  watch  for  her 
himself. 

To  be  perfectly  serious,  however,  it  is  a  pity  that  the 
old-fashioned  notion  of  achievement  for  the  sake  of  a 
woman  seems  to  have  gone  into  the  discard,  because 
women  now  are  repudiating  the  idea  of  being  in  any  way 
dependent  upon  men.  It  is  particularly  unfortunate  for 
a  seaman,  because  of  the  nature  of  his  calling.  When  a 
man  goes  to  sea  he  is  to  a  large  extent  dependent  upon  a 
strong  sentiment  to  carry  him  thru  his  work  because  he 
lacks  the  daily  contact  with  the  society  in  which  he  was 
born.  He  is  among  strangers,  many  of  them  of  alien 
race  and  speech,  and  when  he  takes  the  air  in  a  foreign 
port  the  environment  is  strange  and  disquieting.  It  is 
easy  to  see,  then,  how  he  will  tend  to  idealize  the  girl  he 
left  behind  him,  or  if  he  is  married,  the  wife  and  children 
who  are  quite  cheerfully  growing  up  and  enjoying  them- 
selves without  getting  very  well  acquainted  with  him. 
It  is  this  element  of  separation  from  and  consecration  to 
an  invisible  ideal  which  makes  the  seaman  romantic,  and 
the  fact  that  he  is  sometimes  unfaithful  to  it  only  proves 
his  customary  fidelity.  And  yet  it  must  be  confessed  by 
one  who  has  tested  existence  in  various  ways  and  in  many 
moods,  that  compared  with  the  life  offered  a  man  nowa- 
days ashore,  the  sea  is  romantic.  It  is  insulated, 
to  a  degree  not  comprehended  by  the  general 
mass  of  shorefolk,  from  the  weasel  enter- 
prises and  nickel-plated  ethics  of  so  much 
of  our  modern  industrial  life.  To  put 
it  more  succinctly,  rascality  on  the 
ocean  is  ever  a  secret  and  incon- 
venient predilection,  since  men,  once 
they  are  between  sea  and  sky,  are 
aware  of  the  maximum  nobility  of 
their  souls  and  perceive,  somewhat 
to  their  own  discomfort,  that  the 
rules  of  society  are  only  the  stark 
and  visible  summits  of  the  submerged 
mountain  ranges  we  call  principles  and 
cannot  be  ignored  without  disaster. 

So  it  happens  that,  once  the  pilot  is  safe 
in  his  boat  and  the  course  is  set  over  which 


c 
t 
h 
o 
c. 
o, 
m 
kr 
tu 
an 
as 
pri 
me; 
/ 
saili 
offei 
worl 
degn 
to  be 
anarc 
lectua 
that  i 


ance,  one  is  aware 
I  cannot  be  entirely 
le  of  coast  astern 
I    from    the    deep 


tatter,  an  accession 
last  link  with  the 
pal  apparatus  tip- 
contributor  to  the 
tilitarian  contriv- 
prence  with   that 
ur  compensation 
of   the   modern 
ivalry.  .    .   . 
iitic  in  the  sense 
•|iles,   is    at   least 
the  sense  that 
|upon  an  accept - 
ther  than  upon 
es.     When  this 
m  of  the  hard- 
ended.    He  has 
t    according   to 
nder  shrouded 
is  ocular  proof 
r  abrogation  of 
warks  between 
1   and    weather 
ty  in  a   feudal 
antic  eruptions 
1  liberty  are1  no 
er  sky,  for  he 
His  thoughts 
m  of  a  world, 
n  just  as  long 
nably  adequate 
>  a  man  to  do 

lis   romance   in 

|re  was.     It  is 

very  modern 

rith  a  certain 

at  sea  seems 

Vent  where  all 

Ismooth  intel- 

guardian  of 

|iearts  always 


ust   learn   to 
of  hope  and 
h   his   spirit 
ipline  him- 
of  resolute 
It  do  to  say 
~^inaTTle"aiways  emerges  in  triumph 
from  these  ordeals  or  that,  emerg- 
ing,   his    reward    is    always    there. 
Yet  there  is  often  a  knightly  qual- 
ity    in     his     encounters  ;  with     his 
dark    enemies,    and    he    hatches    at 
times   a   glimpse    of    the    shimmering 
robes,     and     feels     on     his     cheek     a 
faint    unearthly     fragrance,     from    the 
passing    of    his    inviolable    mistress,    the 
Spirit  of  Romance. 


Page  Nineteen 


Jfr    — *» 


Photo 


/allace   Pondelicek 


"/t  is  t/ie  moon  .  .  . 
/r  glimmers  on  the  forest  tips, 
And  thru  the  dewy  foliage  drips 
In  little  rivulets  of  light, 
And  makes  the  heart  in  love  with  night! 


Page 


MLLE.  ANNA  LUDMILLA 

In  spite  of  her  youth,  Mile.  Ludmilla  has  been  pre- 
miere danseuse  with  the  Pavley-Oukrainsky  Ballet  as 
well  as  a  participant  in  several  New  York  musical 
successes.  Mile.  Ludmilla  came  from  Chicago  and  has 
returned  this  season  to  her  native  city  as  premiere 
danseuse     of     the     Chicago     Civic    Opera     Company 


Photo  by  James   Wallace   Pondeiicek 


lJaye  Twenty-One 


The  Baron   (Katchaloff),  fallen  to  the  estate  of  the  Russian  gutter  and  a  cellar  lodging  for  the  night,  recalls  his  better 
days  and  rails  at  his  fate,  while  Nastya,  whose  romantic  day-dreams  he  had  twitted  before,  evens  up  the  score  with  him 

Importing  Europe's  Foremost  Stage 

The  Moscow  Art  Theatre  as  seen  thru  its  Masterpiece,  Gorky's  The  Lower  Depths 

By  Oliver  M.  Sayler 


ONE  day  last  winter,  shortly  after  BaliefFs  Chauve- 
Souris  had  struck  its  phenomenal  stride,  I  voiced 
an  emphatic  negative  when  asked  if  I  thought  the 
Moscow  Art  Theatre  would 
agree  to  come  to  this  country. 
"And  even  if  they  were  willing 
to  come,"  I  asserted,  "I  dont 
believe  their  clientele  or  the 
Government  would  permit 
their  departure.  The  Studio 
Theaters,  the  younger  genera- 
tion of  the  Moscow  Art  Thea- 
tre, yes.  They  were  eager  to 
make  the  trip  four  years  ago. 
But  the  parent  company, 
never." 

In  passing  this  judgment, 
however,  I  had  failed  to  take 
full  account  of  the  effect  of 
protracted  revolution  not  only 
upon  artists  but  upon  audi- 
ences and  even  governments. 
Hunger  and  destitution  are  the 
most  impelling  forces  to  dic- 
tate change  of  plans.  And  as 
it  has  turned  out,  after  one  of 
the  most  intricate  series  of 
negotiations  in  dramatic  an- 
nals, it  is  the  entire  first  line 
of  the  Moscow  Art  Theatre 
which  is  coming  to  New  York 
in  January,  under  the  direction 
of  Morris  Gest,  with  permis- 
sion of  the  Soviet  and  the  God- 
speed of  its  audiences,  while 
the  Studio  Theaters  will  be  left 
to   keep    traditions    unbroken. 


Mile.  Orlova  as  the  young  lover  of  the  play  who  rouses 
the  jealousy  of  her  sister,  the  keeper  of  the  lodging-house 


To  sum  up  the  chronicle  of  any  institution  by  viewing 
it  thru  the  prism  of  one  of  its  notable  exploits  is  a  rather 
unusual  course,  but  I  propose  to  follow  it,  in  this  case,  in 

order  to  avoid  the  monotony 
in  which  a  catalog  of  a  quarter 
century  of  play  titles  and  play- 
ers' names  would  involve  a 
brief  article  like  this  and  in  the 
hope  of  making  some  of  this 
theater's  characteristics  and 
'customs  stand  out  the  more 
vividly  by  illustration  from  a 
single  production. 

The  play  I  have  chosen  for 
this  purpose  is  Maxim  Gorky's 
N a  Dyne  or  The  Lower 
Depths,  better  known  in 
America  thru  its  title  in  Ger- 
man translation,  Nachtasyl,  or 
Night  Lodging.  And  the  rea- 
son for  the  choice  is  not  so 
much  that  the  American  play- 
goer is  already  familiar  with 
this  masterpiece  of  the  great 
prophet  of  the  Revolution, 
thru  several  published  transla- 
tions and  productions  in  Eng- 
lish, German  and  Yiddish ;  it 
is  rather  because,  in  this  play 
more  than  in  any  other  thru- 
out  its  history,  the  Moscow 
Art  Theatre  epitomizes  its 
dramatic  ideals  and  methods, 
its  esthetic  theory  and  prac- 
tice, and  thru  the  production 
of  this  play  it  most  emphat- 
ically justifies  its  artistic  faith. 


Page  Twenty-Two 


Ivan  Moskvin,  one  of  the  charter 
members  of  the  Moscow  Art  Theatre 
in  1898,  and  long  accounted  as  the 
leading  high  comedian  and  character 
actor  of  the  modern  Russian  stage.  He 
is  here  seen  as  Luka,  the  old  pilgrim 


Vassily  Katchaloff  as  the  Baron, 
tattered  and  forgotten  relic  of 
better  days,  who  carries  to  the 
bottom  round  of  the  social  ladder 
some  of  the  airs  and  graces  of 
his  former    high    estate 


Mme.  Olga  Knipper-Tchehova, 
widow  of  the  world-famed  play- 
wright, Anton  Tchehoff.  She  is 
the  Mrs.  Fiske  and  the  Ellen 
Terry  of  the  modern  Russian 
theater.  Here  she  is  seen  as 
Vassillissa,  the  keeper  of  the 
cellar  lodging-house 


In  choosing  The  Lower  Depths  as  sole  representative 
and  exemplar  of  The  Moscow  Art  Theatre.  I  am  not  for- 
getting that  the  fate  of  this  stage  is  far  more  closely 
associated  with  the  name  of  Anton  Tchehoff  than  with 
that  of  Maxim  Gorky.  Nor  am  I  denying  the  justice  of 
that  tradition  or  its  importance.  With  The  Sca-Gull  in 
the  theater's  first  season,  and  later  with  Uncle  Vanya, 
The  Three  Sisters,  and  The  Cherry  Orchard,  Tchehoff 
gave  to  the  Moscow  Art  Theatre  and  received  from  it 
both  name  and  fame  within  Russia  and  beyond  its  borders. 
What  he  contributed  in  the  very  beginning  to  the  project 
of  Stanislavsky  and  Nemirovitch-Dantchenko  was  without 
price  or  computation.  The  level  of  his  plays  is  better 
-u-tained  than  the  level  of  Gorky's ;  the  average  is  higher. 


But  at  no  point  does  Tchehoff  scale  the  heights  of  The 
Lower  Depths,  simply  because  he  is  content  to  remain 
dramatist  and  artist,  while  Gorky,  at  least  in  this  single 
case,  achieves  the  triple  role  of  dramatist,  artist  and 
philosopher. 

The  Moscow  Art  Theatre  discovered  Tchehoff.  At 
least  it  rescued  him  from  the  failure  as  a  playwright 
which  appeared  to  be  his  lot.  It  discovered  Gorky  as  a 
dramatist,  too.  During  the  season  of  1902-1903,  its  fifth, 
it  produced  two  of  the  youthful  revolutionist's  pieces: 
Myeshchanie  or  Smug  Citizens,  and  then  The  Lower 
Depths.  After  three  hundred  rehearsals,  the  average 
period  of  preparation  of  a  play  for-  this  patient  and 
(Continued  on  page  70) 


At  the  left  is  Mile.  Skulskaya 
as  Kvashnya,  the  none-too- 
handsome    girl    of    the    streets 

At  the  right  is  Alexander  Vish- 
nevsky, one  of  the  leading 
members  of  the  company.  In 
Gorky's  masterpiece  he  portrays 
the  Tatar,  the  silent  and  stolid 
participant  of  the  motley  crew. 
When  it  comes  time  to  face 
Mecca,  like  a  good  Moham- 
medan, out  comes  his  prayer- 
rug,  no  matter  what  the  rest 
are  doing,  and  he  proceeds 
with    his    ceremonial 


Page  Twenty-Th) 


Dancers 

on 
Foreign 
Shores 

Photos  by  Angelo 


Charlotte  Wilke  (above)  is  Swiss, 
and,  altho  a  graduate  of  the  famous 
Dalcroz  Dancing  School  at  Paris, 
prefers  to  dance  her  own  inter- 
pretations rather  than  follow  too 
closely  the  traditions  of  the  school. 
Claire  Banroff,  formerly  of  the 
Imperialist  Czarist  Ballet,  fled  to 
Paris  to  escape  the  Bolshevik.  Her 
dancing  is  both  graceful  and  virile. 
She  is  noted  for  her  boyish  figure 
and  has  posed  for  many  sculptors 


page  Twenty-Four 


Photo  by  Rabinovitrb 


"Sometimes  a  violent  laughter  screwed  his  face, 
And  sometimes  ready  tears  dropped  down  apace." 


THE  CLOWN 


Page  Twenty-Five 


Collecting  Old  Glass 

Efy  W.  G-  Bowdoin 


Photographs  from  the  Metropolitan  Museum  of  Art,  New 
York,  and  the  Pennsylvania  Museum,  Philadelphia 


English  glass  of  the  eight- 
eenth century,  showing  an 
air  spiral  stem  of  splendid 
workmanship 


American   paper-weight   enclos- 
ing   flowers    of    colored    glass 


An  American  wine-glass  of 
1763,  made  by  Baron  Siegel 
at   Manheim,  Pennsylvania 


OLD  glass  has  its  individual  charm.  The  wonder- 
ful beauty  of  the  crystal,  the  multiple  variety  of 
form,  the  bell-like  resonance,  the  satiny  feeling 
of  its  surface,  the  sparkle  of  the  cut  facets,  and  the 
combination  of  grace  and  utility,  attract  the  discriminat- 
ing collector. 

There  is  also  an  added  attraction  in  the  historical  and 
social  traditions  that  cluster  about  certain  pieces. 

The  fragility  of  glass  has  precluded  its  survival  in 
sufficient  quantity  to  make  it  common,  and  yet  the  col- 
lector who  turns 
toward  it  as  a  hobby 
will  find  glass  hunting 
by  no  means  without 
charm  and  zest.  Col- 
lecting it  in  odd  cor- 
ners and  out  of  country 
cupboards  takes  on 
something  of  romance, 
something  more  of  ad- 
venture, than  when 
merely  buying  of  a 
dealer. 

A  large  Bristol  col- 
ored-glass paper-weight 
may  cost  you  ten  dol- 


lars in  an  antique  shop,  but  if  you  can  happily  run  across 
one  of  these  in  private  hands,  where  from  an  heirloom  it 
has  perhaps  become  the  toy  of  children  who  have  used 
it  as  a  hammer  with  which  to  drive  nails,  it  may  be 
acquired  by  the  alert  collector  for  a  veritable  song. 

Now  is  the  time  to  collect  old  glass.  The  prices  are 
advancing  atid  pre-war  prices  are  not  likely  to  return. 
The  neglected  opportunity  of  today  will  never  recur. 

All  forms  of  collecting  are  educational,  and  knowledge 
comes  to  the  true  collector,  even  thru  the  errors  sure 
to  be  made.  It  is, 
however,  by  no  means 
difficult  to  become  a 
fairly  well-informed 
collector  of  old  glass. 
Counterfeits  are  nu- 
merous and  forgeries 
are  turned  out  by  the 
unscrupulous ; absolute- 
ly new  glassware  after 
old  models  is  on  sale  in 
hundreds  of  curio 
shops,  but  only  the  ig- 
norant or  careless  col- 
lector need  be  taken  in. 
(Cont'd  on  page  75) 


An  American  glass  tumbler  of 
the  eighteenth  century,  enam- 
eled in  brilliant  colors.  The 
pontil-mark  shows  prominent 
ly  and  thus  indicates  the  age 
of   the   glass 


Above,    one    of 
Lind"      souvenir 


the    "Jenny 
bottles     of 


souvenir      Domes      01 
1850.     At  the  left,  a  log-cabin 
whiskey   bottle   and   its   mold. 
Popular  during  the  1840  presi- 
dential campaign 


Page  Twenty-Six 


BHHBHHHMnHHHHHHMIMH 


MHHMHHBBHHHNft 


flwwuunm  [immmmmmmmmmmm 


Photo  by  hdward  Thayer  Monroe 


PEGGY  WOOD 

The  captivating  star  of  "Marjolaine"  is  leaving  musical  comedy 
behind  her  and  entering  the  serious  drama — a  sort  of  half- 
way house  on  her  climb  toward  grand  opera.  All  this  on  the 
advice  of  Mme,  Calve,  with  whom  she  has  been  studying.  "And 
how,"  exclaimed  her  illustrious  mentor,  "can  you  perfect  a 
voice  if  you  make  it  work  thru  eight  performances  a  week!" 


Page  Twenty-Seven 


At  the  right  is  Marie  Vassilieff 
in  her  studio  in  the  Latin  Quar- 
tier.  Many  artists  have  been 
making  dolls  of  various  sorts 
for  grown-up  folk,  but  none  of 
ihem  has  approached  her  as  a 
caricaturist.  She  is  also  a 
painter  of  merit  and  an  author- 
ity   on    primitive    African    art 


jpaumxttW 


The  reproductions  below  exem- 
plify the  versatility  of  Mme. 
Vassilieff.  The  character  doll 
is  of  Andre  Derain,  the  well- 
known  French  modern  painter; 
"Bombo"  is  an  imitation  in 
leather  of  a  grotesque  African 
idol;  the  painting  of  the  merry- 
go-round  is  one  that  drew 
high   praise   at   the   Paris   salon 


*«-?*-*    !.■: 


The 
Doll-Maker 

of 
Montparnasse 


The  Parisian  once  left  to  posterity  a  miniature,  a  photograph,  or 
a  marble  bust  of  himself;  now  he  leaves  a  character-portrait  doll 


Page  Twenty-Eight 


Thomas  H.  luce  Productions 


LORNA   DOONE 

"She  was  coming  toward  me  .  .  .  I  could  not  see  what  her  face 
was,  my  heart  so  awoke  and  trembled;  only  that  her  hair  was 
flowing  from  a  wreath  of  white  violets,  and  the  grace  of  her 
coming  was  like  the  appearance  of  the  first  windflower  ..." 


Madge  Bellamy 


■ 


Page  Tzventy-Kine 


The  Devil  Among  the  Critics 

What's  the  Matter  With  Modern  Musical  Criticism? 


B;y  Jerome  Hart 


« 


W: 


HAT  the  devil  is  the  matter  with  the  musical 
critics?"  said  a  friend  to  me  towards  the  close 
of  last  season.  "Nothing  seems  to  please  them. 
They  evidently  dont  go  to  a  musical  performance  to  dis- 
cover its  good  points,  but  its  bad  ones. 

"A  few  years  ago,"  he  continued,  "I  used  to  pick  up 
the  papers  in  order  to  get  my  own  impressions  of  a  con- 
cert or  an  opera  confirmed  and  occasionally  revised,  and 
was  pleased  to  find  that  the  critics  and  I  were  generally  in 
agreement.  But  now,  whenever  I  read  a  criticism  of 
something  I  enjoyed,  I  find  that  I  ought  not  to  have  done 
so.  A  famous  prima  donna,  who  I  thought  was  singing 
if  anything  rather  better  than  usual,  was,  I  am  told, 
inclined  to  faulty  intonation  and  bad  production.  Louise, 
an  opera  which  was 
hailed  by  Europe 
on  its  production 
as  a  master  work, 
and  very  rightly 
too,  is  vieux  jeu 
and  rather  poor 
stuff.  A  perform- 
ance by  the  Phila- 
delphia Orchestra 
of  a  Brahms  sym- 
phony, which  I 
thought  was  the 
best  I  had  ever 
heard,  was  'too 
perfumed,'  whatev- 
er that  may  mean. 
A  rash  young  critic, 
with  more  enthusi- 
asm than  experi- 
ence, places  Jeritza 
and  Chaliapin  on  a 
parity ;  while  an- 
other, who  is  old 
enough  to  know 
better,  exhausts  the 
language  of  hyper- 
bole in  praising  a 
mountainous  con- 
tralto who,  I  and 
others  thought, 
howled  and  growl- 
ed abominably.  I 
repeat,  what  the 
devil  is  the  matter 
with  the  critics?" 

"You've  said  it," 
I  replied.  "It's  the 
devil  —  or  rather 
several  devils.  It's 
the  devil  of  igno- 
rance, the  devil  of 
inappreciation,  the 
devil  of  prejudice, 
the  devil  of  favor- 
itism, the  devil  of 
boredom  and,  not 
least  of  all,  the 
devil    of   vanity   or 


\  inderwood  &  TYnderwood 

GEORGE  BERNARD  SHAW 
Not  many  are  aware  that  Shaw  commenced  his  literary  career  as  a  musical  critic. 
His   first   book  to   achieve  wide  public   recognition   was   The  Perfect   Wngnerite 


self-conceit,  which  makes  the  critic  think  more  of  himself 
than  of  the  person  or  work  he  is  criticizing.  The  older 
men  have  lost  their  enthusiasms,  if  they  ever  had  any. 
Their  senses  are  dulled  and  jaded  and  they  think  that  their 
age  and  experience  entitle  them  to  indulge  in  snap  judg- 
ments on  matters  which  call,  if  not  for  profound  study, 
at  any  rate  for  more  than  casual  hearing. 

"The  younger  generation  of  critics  are,  as  a  rule,  too 
inexperienced  and  timid  to  dare  to  praise  that  which 
most  likely  they  have  heard  their  seniors  jeering  and 
sneering  at  in  the  lobbies  and  foyer.  Moreover,  few  of 
them  have  more  than  a  smattering  of  music.  They  know 
its  ABC,  they  have  picked  up  several  cliches  and  added 
a  few  phi'ases,  epithets  and  adjectives  which  strike  them 

as  novel  and  effec- 
tive, and,  having 
rushed  from  opera 
to  concert  and  from 
concert  to  opera, 
they  dart  into  the 
press  room  at  the 
Metropolitan  or 
their  offices  and 
bang  out  their 
'stuff'  on  a  machine 
with  the  editor's  in- 
junction to  'keep  it 
down'  ringing  in 
their  ears.  How 
can  you  expect  mu- 
sical criticism  to  be 
much  better  than  it 
is?  Moreover, 
when  one  comes  to 
think  of  it,  music 
has  never  provoked 
much  good  writing, 
and  I  suppose  it 
never  will." 
"Why  not?" 
"Because,  being 
the  most  subjective 
of  all  the  arts,  it 
can  never  be  the  in- 
spiration of  a  great 
literature.  No  per- 
fect poem  with  a 
definitively  musical' 
subject  has  yet 
been  written,  with 
possibly  one  excep- 
tion, Arthur  O'- 
Shaughnessy's  We 
Arc  the  M usic 
Makers.  Dryden's 
Odes  to  St.  Cecilia 
are  of  their  period  ; 
formal,  stilted  and 
rhetorical.  Her- 
rick's  To  Music 
is  charming,  like 
most  of  his  verse, 
and  the  Brownings 


Page   Thirty 


SUAUOWLAND 


wrote  poems  of  merit  uri 
musical  subjects,  but  they 
do  not  rank  among  their 
finest  work. 

"There  is  no  great 
novel  with  music  as  its 
theme  or  basis  —  no,  not 
excepting  Jean  Christo- 
p  h  c ,"  I  said,  as  my 
friend  interjected  the 
name.  "Romain  Rolland's 
book  has  as  much  con- 
nection with  fine  litera- 
ture as  a  Mahler  sym- 
phony has  with  inspired 
music.  The  only  other 
musical  novels  I  can  recall 
are  that  nauseating  ex- 
ample of  early  Victorian 
insipidity,  Charles  Au-  ■ 
Chester,  the  principal  char- 
acter in  which  has  been 
assumed  to  be  Mendels- 
sohn, and  Evelyn  Innes. 
by  George  Moore.  Of 
course,  Moore  was  never 
aught  but  the  self-con- 
scious stylist  and  poseur, 
who  invented  his  style  by 
thinking  in  French  and 
writing  in  English.  In 
one  or  two  of  his  self- 
revelatory  if  not  veracious 
autobiographical  volumes 
he  shows  even  more  clear- 
ly than  in  Evelyn  Innes 
how  meager  and  inaccu- 
rate is  his  knowledge  of 
music,  which,  however,  he 
affects  to  discuss  as  one  of 
the  cognoscenti." 

"Surely,  you  have  for- 
gotten Huneker's  Painted 
Veils." 

"I  wish  I  could.  As  one 
who  had  a  warm  personal 
regard  for  Huneker  and 
admired  the  robust  vigor 
of  his  mental  processes  as 
well  as  the  fine  gusto 
which  often  pervaded  his 
writings,  I  can  only  ex- 
press my  profound  regret  that  the  book  you  mention 
found  a  publisher,  altho  it  was  only  issued  in  a  limited 
subscription  edition.  Many  passages  in  that  queer  jumble 
of  cheap  fiction,  autobiography,  musical  comment  and 
pornography  are  deplorable.  Mind,  I  am  not  falling 
foul  of  its  frankness  or  immorality.  That  concerns  me 
not  at  all.  But  the  book  is  worse  than  immoral,  it  is 
ill-written." 

"But  what  about  Huneker. as  a  critic?  Did  you  not 
see  that  McFee  referred  to  him  as  a  prince  among  critics, 
or  something  like  that  ?" 

"I  did.  McFee  was  probably  not  unmindful  of  Hune- 
ker's glowing  laudation  of  his  own  splendid  Casuals  of 
the  Sea.  But  none  the  less  Huneker  was  a  fine  critic  as 
well  as  often  a  fine  writer,  especially  with  regard  to 
music,  in  which  he  had  a  solid  foundation  and  an  extensive 
background.  He  knew  music  au  fond,  for  he  began  as 
a  pianist  and  musical  pedagogue,  and  of  how  many  of  his. 
brother  critics  could  as  much  be  said  ?  No  wonder  his 
colleagues  were,  dazzled  by  his  omniscience  and  versatility, 
and  envied  him  his  knack  of  digging  up  recondite  and 


One  of  the  best  en 
try  has  produced, 
edge,   for   at  one 


JAMES  GIBBONS  HUNEKER 

dowed  critics  of  music,  art  and  literature  this  coun- 

His  musical  criticism  was  based  on  a  thoro  knowl- 
time   he    was    a    pianist   and    professor    of   the   art 

bizarre  words  which  somehow  seemed  to  fit  the  subject 
exactly." 

"What  do  you  think  of  his  book  about  Chopin?" 

"It  is  one  of  his  best,  but  I  know  a  better  by  Liszt,  of 
which  Georges  Sand  said,  'un  peu  exuberant  en  style,  mais 
remplit  de  bonnes  choses  et  des  tres  belles  pages.'  The 
great  Hungarian  composer  and  pianist  was  able  fully  to 
appreciate  the  genius  of  his  contemporary,  and  was  not 
afraid  to  be  enthusiastic  concerning  him.  He  wrote  yet 
one  more  rhapsody  in  his  Life  of  Chopin,  which  I 
advise  you  to  read,  if  you  have  not  already  done  so.  He 
enables  one  to  understand  the  man  and  appreciate  the 
musician,  while  beneath  the  swift  tide  of  eulogy  is  the 
undercurrent  of  searching  and  informed  criticism." 

"Do  you  mind  telling  me  whom  you  regard  as  among 
the  best  of   our  musical  critics?" 

"Without  answering  you  directly,  1  am  glad  you  have 

put  the  question,  for  it  enables  me  to  say  something  which 

I   should  like  you  and  others  to  think  over.     The  best 

critics  are  invariably  trained  musicians,  especially  creative 

{Continued  on  page  72) 


Page  Thirty-One 


Photos 

by 
Sherril 
Schell 


Memorable  Doorways 


Above  is  the  en- 
trance to  the  Play- 
ers' Club,  facing 
Gramercy  Park,  in 
New  York.  This 
fine  old  house  is 
the  guardian  of  tra- 
ditions artistic 
from  earlier  days. 
It  was  purchased 
for  the  Club  by 
Edwin  Booth  in 
1888,  who  furnish- 
ed it  from  garret 
to  cellar,  gave  it 
his  books  and  pic- 
tures and  rare  col- 
lections of  every 
sort,  and  made  it 
his  home  after- 
ward. It  was  here 
he  died,  and  it  is 
his  greatest  monu- 
ment 


The  railing  of  iron 
grill-work  above 
leads  to  the  door- 
way of  Washington 
Irving's  old  home, 
built  by  him  in  the 
forties  on  the 
"Place"  in  New 
York  that  still 
bears  his  name. 
At  the  left  is  the 
porch  before  the 
entrance  to  the 
Dutch  cottage  of 
Edgar  Allan  Poe 
in  Fordham,  New 
York.  It  was  in  this 
little  grey  shingled 
house  that  Poe 
spent  his  last  years 


I'dyc  Thirty-Tiuti 


The  Wayward  Poet  of  England 

Ernest  Dowson,  Who  Composed  His  Incomparable  Lyrics 
in  Dingy  Taverns  and  Squalid  Lodging-Houses 

ffy  Llewelyn  Powys 


THERE  is  something  strangely  challenging  to  the 
imagination  about  the  lives  of  that  group  of  young 
poets  and  artists  who  lived  in  England  during  the 
nineties  of  last  century.  Like  their  flaunting,  resplendent 
leader,  Oscar  Wilde,  the  footsteps  of  each  one  of  them 
seemed  dogged  by  a  bitter  and  envious  fatality. 

Lionel  Johnson  essayed  for  a  few  years  to  give  expres- 
sion to  his  fastidious  scholarship,  and  then,  practically  a 
dipsomaniac,  fell  back  dead  from  a  high  stool  in  a  public 
bar.    Aubrey  Beardsley,  for  as  short  a  space,  worked  at  his 
strange  fantastical  art,  sitting  at  a  table  under  a  crucifix, 
golden  quill  in 
hand,    to    die    of 
consumption 
while    still   but   a 
boy.    And  the  fate 
of  the  author  of 
C  y  n  a  r  a    was 
scarcely  more 
fortunate. 

Ernest  Dowson 
was  born  in  Kent, 
in  1867.  He  spent 
the  greater  part 
of  his  childhood 
abroad,  was 
taught  Latin  by  an 
old  priest  in  Italy, 
for  a  short  time 
was  an  under- 
graduate  at 
Queen's  College, 
Oxford,  and  pass- 
ed the  rest  of  his 
days  in  the  poorer 
sections  of  Paris 
and  London. 

It  was  indeed  a 
peculiarity  of  this 
exquisitely  refined 
and  graceful  poet 
to  feel  at  ease 
only  amidst  the 
most  squalid  sur- 
roundings. It 
seemed  that  for- 
tune favored  his 
bizarre  predilec- 
tion, for,  as  quite 
a  young  man,  he 
inherited  an  old 
dock,  down  in  the 
Limehouse  dis- 
trict, and  it  was 
in  a  dilapidated 
house  belonging 
to  this  curious 
property  that  he 
lived  whenever  he 
was  in  London. 

While  at  Ox- 
ford,  he  had 
shown  his  distaste 


"Mm 


[>m 


1 


/ 1 


for  the  stale,  unprofitable,  commonplace  world,  in  court 
ing  forgetfulness  by  the  use  of  hashish,  and  it  was  prob 
ably  the  same  impulse  which  prompted  him  to  frequen 
an  environment  where  the  humdrum  aspect  of  everydaj 
life  was  disguised  by  the  garish  hand  of  penury  and  eld 
He   seldom  appeared   in   conventional   society.      Dressed 
always  in  untidy,  even  filthy  clothes,   he  drifted   about 
from  tavern  to  tavern,  composing  on  many  a  beer-ringed 
table  his  incomparable  lyrics. 

When  all  the  world  had  turned  against  Wilde  and  he 
was  living,  fallen  and  deserted,  in  Oakley  Street,  awaiting 

his  last  trial, 
Dowson,  with  an 
artist's  civilized 
disregard  of  mat- 
ters of  personal 
conduct,  searched 
him  out  and  more 
than  any  other 
man  lightened  the 
heart  of  the  dis- 
graced aesthete. 
He  was  present  at 
the  Old  Bailey 
when  the  final 
verdict  was  an- 
nounced ;  and  it 
was,  we  may  be 
sure,  with  no  very 
sympathetic  eye 
that  this  wayward 
and  engaging 
young  poet 
watched  the  har- 
lots of  Edgeware 
Road  dance  for 
joy  as  the  ward- 
ers led  from  the 
dock  to  the  jail 
the  bowed  figure 
of  his  friend. 

But  Dowson  did 
not  depend  entire- 
ly upon  such  sor- 
did spectacles  for 
inspiration.  It 
happened  that 
during  one  of  his 
nocturnal  wander- 
ings his  eyes  had 
fallen  upon  a  cer- 
tain young  girl  in 
an  obscure  cafe. 
She  was  the 
daughter  of  a 
French  emigre,  of 
good  family,  who 
had  taken  to  res- 
taurant -  keeping. 
Dowson  felt  in 
love  with  her,  fell 
(Continued  on 
page  76) 


M 


££o  KP6ER 


v~> 


ERNEST  DOWSON 


Page  Thirty-Three 


Jhoto  by  Shirley  Vance  Martin 


JACKIE  COOGAN 


"...  The  next  morning  the  public  was  once 
more  informed  that  Oliver  Twist  was  TO  LET 
— and  that  five  pounds  would  be  paid  to  any- 
body who  would  take  possession  of  him  ..." 


Page  Thirty-Four 


The  Convenience  of  the  Novel 


By  Burton  Rascoe 


IF  the  past  few  years  have  taught  us  anything  about 
literature,  it  is  that  the  novel  is  the  most  variable  me- 
dium of  expression  in  the  domain  of  the  fine  arts. 
It  lends  itself  to  every  mood  of  the  mind.  It  has  taken 
the  place  of  the  epic;  it  may  be,  and  often  is,  the  vehicle 
of  biography,  of  reminiscence,  of  philosophic  specula- 
tion, of  science,  of  the  light  and  serious  essay,  and  of 
history.  It  may  be  objective  or  subjective,  realistic  or 
romantic,  analytical  or  representational,  photographic  or 
what  not.    To  define  its  form  is  an  impossibility. 

Probably  the  most  absurdly  impertinent  book  ever  to 
receive  serious  critical  encomia  was  Percy  Lubbock's  re- 
cent treatise,  on  the  Craft  of  Fiction,  wherein  he  tried  to 
define  the  scope  of  the  prose  narrative  in  fiction  and  suc- 
ceeded merely  in  elucidating  the  technique  and  method 
of  Henry  James.  For  all  his  admiration  of  that  master 
of  subtle  delineation  of  character,  Mr.  Lubbock's  attempt 
to  circumscribe  the  novel  by  the  Jacobean  formula  was 
but  weaving  nets  to  catch  the  wind.  The  novel  is  pre- 
cisely what  the  artist  wishes  to  make  it.  It  may  be  an 
epic  drama  as  in  Tolstoi's  War  and  Peace;'  it  may  be  an 
Odyssey  of  the  indigent  as  in  Nexo's  Pelle:  the  Con- 
queror; it  may  be  a  colossal  satire  as  in  Anatole  France's 
The  Revolt  of  the  Angels;  it  may  be  a  playground  of 
ideas  as  in  Remy  de  Gourmont's  Sixtine ;  it  may  be  a 
projection  of  oneself  in  subliminal  phantasy  as  in  James 
Branch  Cabell's  Jurgen;  it  may  be  an  exploration  of  the 
subconscious  as  in  James  Joyce's  Ulysses;  it  may  be 
photographic  realism  as  in  Sinclair  Lewis'  Babbitt;  it 
may  be  a  free  verse  narrative  as  in  Roscoe  W.  Brink's 
Down  the  River;  it  may  be  autobiography  pure  and  sim- 
ple as  in  John  Cournos'  Babel;  or  it  may  be  light  enter- 
tainment as  in  the  latest  opus  by  E.  Phillips  Oppenheim. 
And,  in  taking  any  one  of  these  forms,  it  may  be  liter- 


almost  an  exercise  in  bizarre  and  fantastic  word-weav- 
ing. Gargoyles  has  none  of  that:  it  is  written  in  a  se- 
verely concise  and  simple  prose.  It  is  much  as  if  Mr. 
Hecht  had  cleared  the  exotically  decorated  stage  whereon 
he  had  been  juggling  balls  of  varied  colors  and  had  sud- 
denly shown  us  a  dissecting  clinic  with  himself  as  chief 
of  operations,  his  sleeves  rolled  up  and  gravity  engraved 
upon  his  countenance.  He  has  addressed  himself  to  the 
task  of  showing  exactly  what  aims  and  desires  prompt 
the  average  human  being  in  his  visible  and  audible  rela- 
tions with  those  about  him,  of  showing  what  goes  on 
beneath  the  surface  in  the  petty  hypocrisies,  polite  ges- 
tures, professions  of  opinion,  and  ideals  of  the  middle- 
class  American  citizen. 

_  That,  you  will  concede,  is  not  a  task  which  is  likely  to 
yield  inspiring  or  elevating  results.  Even  the  least  intro- 
spective among  us  is  secretly  aware  that  he  sometimes 
masks  his  real  motives  with  a  bland  deceit.  The  pre- 
scribed rules  of  commendable  conduct,  the  traditions  of 
amiable  and  successful  human  intercourse,  the  complex- 
ities of  accumulated  taboos  in  a  heterogeneous  civilized 
society,  have  combined  to  make  the  average  human  mind 
a  mass  of  suppressions,  lies  and  self-deceptions.  The 
difficulty  is  few  people  are  ever  aware  of  them  and  that 
they  make  of  these  defects  the  dubious  virtues  they 
recognize  as  the  good,  the  true  and  the  beautiful.  Out 
of  their  impotence  they  create  a  religion  and  an  ethic; 
out  of  their  frustrations  they  organize  a  crusade;  out 
of  their  suppressions  arise  such  sickening  perversities  as 
war,  mob  violence,  lynchings,  vice  hounding,  persecu- 
tions, revivalist  debauches,  martyrdom  and  that  prevalent 
madness  which  has  somehow  come  to  be  conceived  as 
normal,  salt-of-the-earth  sanity.  That  it  is  not  sanity, 
but  in  reality  a  dangerous  sort  of  madness,  is  something 


ary  art  of  the  very  highest  kind,   depending  of   course  that  the  psychologists  have  discovered  only  recently.    Out 

entirely  upon  whether  the  author  has  genius.     To  reject  of  the   Freudian   explorations   of   the   subconscious    the 

Ulysses  or  The  Revolt  of  the  Angels  from  the  category  of  research  of  the  psychiatrists  and  behaviorists  and  the  tests 

novels  on  the  ground  that  they  do  not  follow  the  plan  of  in  experimental  psychology  has  come  a  knowledge  of  the 


The  Golden  Bowl  is  merely  to  con- 
fess an  irrelevant  predilection — ■ 
and  to  be  more  than  a  little  asinine. 
The  present  season  of  fiction 
offers  an  extraordinary  diversity 
of  novels,  a  great  number  of 
which  are  of  sound  and  consider- 
able merit.  I  have  spoken  in  this 
place  of  Babbitt,  One  of  Ours, 
and  The  Glimpses  of  the  Moon. 
Now  comes  a  new  book  by  Ben 
Hecht,  who  pleased  one  section  of 
a  large  audience  and  enraged  the 
other  with  his  first  book,  Erik 
Dom,  a  sustained  piece  of  lyrical 
bitterness.  The  new  book.  Gar- 
goyles, is  a  novel  in  an  entirely 
different  genre.  It  is  a  psycho- 
logical novel  so  merciless  and  ex- 
act in  its  analysis  of  human  mo- 
tives that  it  might  easily  serve  as 
a  treatise  on  behavior.  In  Erik 
Dorn  Mr.  Hecht  showed  himself 
to  be  an  extraordinary,  if  often 
too  exuberant,  master  of  epithets 
and  of  strikingly  brilliant  word 
combinations.      That    novel    was 


Sketched  by  Erik   I.   Smith 
BEN  HECHT 


extent  to  which  this  madness  is  re- 
sponsible, not  only  for  individual 
disease  and  death  but  for  the  mis- 
eries which  beset  mankind. 

If  you  prefer  to  remain  in  ig- 
norance of  the  mainsprings  of 
conduct,  if  you  dislike  facing  life 
in  novels  as  resolutely  and  with 
as  much  disillusion  as  you  are 
forced  to  face  it  in  life,  you  will 
not  relish  Gargoyles.  To  the  com- 
placent and  optimistic  it  will  be 
an  irritating  and  perhaps  even  a 
nauseous  book.  They  will  see  in 
it  precisely  what  it  is  not,  i.  e., 
an  unhealthy  and  immoral  novel. 
On  the  contrary  it  is  so  sternly 
moral  as  to  be  almost  quixotically 
idealistic.  The  whole  effort  of 
the  writer  is  concentrated  in  an 
indictment  of  that  shoddy  sexu- 
ality which  is  never  sublimated 
into  the  creation  and  enjoyment 
of  beauty  and  serenity.  It  is  a 
derisive  and  contemptuous  sneer 
at  that  bondage  of  the  flesh  which 
(Continued  on  page  64) 


Page  Thirty-Five 


r . 





Study  of  Charles  Weidman  by  Hori 


PIERROT  SINGS 

By  Harold  Final 


1  heard  a  bird  in  an  almond  tree 
Thrilling   deep   and   long. 

Oh,  it  must  he  a  starry  thing 
To  break  one's  heart  with  song! 


Tho   I   have   singing   things    to   give, 

Heart-fire  and  ecstasy — 
I  cannot  trill  a  golden  note 

Or  shake  an  almond  tree. 


Page  Thirty-Six 


':' 


Representative  Pottery 


Pottery,  while  it  is  the  product  of  the  individual 
who  shapes  it  on  his  wheel,  is  national  in  its 
design.  There  is  a  similarity  of  line  that,;  to  the 
eye  ot  an  expert,  places  it  immediately  in  its 
proper  period  and  country 


Courtesy  of  tr 


These  gay  little 
figures,  the  work 
of   Susi  Singer, 


Werkstatte 

express  the  in- 
souciant spirit 
of  the  Viennese 


The  vase  is  an  excellent  ex- 
ample of  the  16th  Century 
Spanish  Mdiolica  ware, 
while  the  plate  of  the  same 
ware  was  made  in  Seville 
during  the  18th  Century 


The  exquisite  green  in  this 
American-made  vase  is 
achieved  by  the  most  careful 
firing  to  bring  out  the  color- 
ing in  the  various  metals 
used  in  and  under  the  glaze 


Page  Thirty-Seven 


Today,  if  you  make  men  jealous  or  angry, 
the  eyes  of  the  cavemen  glare  out.  Even 
Caesar  removed  the  mask  of  the  hero  and  be- 
came plain  man  when  a  pretty  miss  ogled  him 


THE  Father  of  our  country  was  a 
red-head. 
This  news  won  a  brief  para- 
graph on  the  front  page  of  the  news- 
papers recently,  and  brought  letters 
from  elated  gentlemen  chuckling  over 
the  discovery  that  George  Washington 
was  something  more  than  an  austere, 
white-wigged  patrician  in  a  gold  frame, 
who  once  eliminated  both  a  cherry-tree 
and  a  lie. 

Whether  or  not  the  college  profes- 
sor's word  about  the  red  hair  under  the 
white  wig  be  true,  or  the  assertion  that 
Washington  spelled  window  "winder," 
the  statement  nevertheless  remains  as 
an  exhilarating  sign  of  the  modern 
tendency  to  make  heroes  into  human 
beings. 

The  fact  that  Washington's  home  in 
Mount  Vernon  was  often  the  scene  of 
drinking,  gambling,  dancing,  and  flirta- 
tion— good  little  every-day  sins — does 
not  lessen  the  integrity  of  his  public 
life. 

Biographers  are  painting  more  real- 
istic portraits  every  day.  One  of  the 
difficulties  they  face  is  that  great  men, 
as  they  gradually  recede  into  the  past 
of  history,  acquire  more  and  more  the 
attributes  of  godhood.  Psychologists 
tell  us  that  this  is  due  to  the  "parent 
image"  which  a  child  builds  up  in  his 

Page  Thirty-Eight 


Heroes 

or 

Human  Beings? 

"Only  an  equal  or  a  superior 
can  really  appreciate  a  man," 
says  Ruskin.  "The  inferior  may 
overestimate  him  in  enthusiasm 
or  degrade  him  in  ignorance." 

By 
Charles  Divine 

Sketches  by  August  Henkel 


■■    ■  .,:■:  .      ■         ..      -. 


SuiALXJWIAND 


mind  of  a  father  or  mother,  until  it 
becomes  an  ideal  which  can  be 
clothed  with  any  halo  whatever 
without  the  interference  of  trouble- 
some facts. 

H.  L.  Mencken  says :  "American 
sentimentality  holds  that  it  is  inde- 
cent to  inquire  into  the  weaknesses 
of  the  dead,  at  least  until  all  the 
flowers  have  withered  on  their 
tombs." 

Gentlemen  with  dusters  and  ladies 
with  sculping  tools  are  not  waiting 
for  the  flowers  to  wither.  They 
know  perhaps  that  man  always  ex- 
alts the  past,  especially  his  own  past. 
It  is  as  if  the  formula  were :  En- 
noble your  ancestor,  and  you  en- 
noble yourself !  Give  him  all  the 
virtues,  and  you  will  have  them  all 
yourself — if  you  are  simple-minded 
enough  to  believe  it. 

The  hero,  as  Otto  Rank  says  in 
one  of  his  monographs,  should  al- 
ways be  interpreted  as  a  collective 
ego.  This  is  the  type  for  such  fig- 
ures as  Hercules,  Moses,  and  Lo- 
hengrin. In  being  descended  from 
such  stock  the  race  felt  exalted. 

Truer  values  are  being  read  into 
human  actions  today,  and  heroic 
sentimentalities  are  being  investi- 
gated and  exploded.  Even  writers 
of  fiction  are  studying  psychology 
in  an  informal  classroom.  They 
are  dissecting  character  in  the 
laboratory. 

One  such  class  of  student-writers 
has  been  meeting  the  past  year  with 
Professor  Walter  B.  Pitkin.  They 
are  dividing  human  beings  into 
types  of  behavior  and  forms  of  re- 
action during  crises.  They  are  learn- 
ing, for  example,  that  a  certain  man 
who  was  crossing  a  railroad  track 
with  his  wife,  when  her  foot  was 
caught  in  a  rail,  imprisoning  her 
before  an  onrushing  train,  and  who 
stayed  at  her  side  and  met  death 
with  her,  was  not  so  much  a  hero  as  a  marked  hysteroid 
type. 

"This  one  trait,"  says  Professor  Pitkin,  "was  com- 
pletely proved  by  his  abnormal  fixation  on  a  romantic 
impulse  which  completely  threw  his  judgment  out  of 
gear." 

Once  no  man  was  a  hero  to  his  own  valet.  Now  no 
man  is  a  hero  to  his  own  psycho-analyst. 

There  is  Abraham  Lincoln.  Sentimental  affairs  occu- 
pied much  of  his  life,  tho  the  facts  have  been  generally 
glossed  over  by  biographers.  He  was  a  type  that  is 
known  to  psychiatrists  as  maniac-depressive — suffering 
from  an  alternation  of  two  moods,  excitement  and  de- 
pression. 

Dr.  L.  Pierce  Clark's  study  of  Lincoln  shows  that  the 
great  emancipator  was  not  able  to  free  himself  of  a 
devastating  inner  conflict.  It  caused  him  to  sink  into  a 
state  resembling  coma  for  half  a  day  at  a  time.  This 
began  to  be  observed  after  the  death  of  his  first  love, 
Anne  Rutledge. 

Let  us  be  grateful  that  the  biographer  is  no  longer 
afraid  to  tell  the  truth.  Human  traits  have  been  the 
preoccupation  of  such  modern  writers  as  Lytton  Strachey 
with  his  Queen  Victoria  and  Eminent  Victorians;  Frank 


The  deficiency  of  the  internal  secretions  which  made  Napoleon 
eligible  for  glory  was  also  responsible  for  his  downfall.  His 
rise   and   fall   followed   the   rise   and  fall    of  his   pituitary   gland 


Harris  with  his  Life  of  Oscar  Wilde;  Van  Wyck  Brooks 
with  his  Tlie  Ordeal  of  Mark  Twain.  Orthodox  histories 
and  classroom  textbooks  can  never  give  the  student  half 
the  thrill,  the  truth,  and  the  glamor  of  a  great  man  or 
his  age  as  can  a  slim  volume  like  Edgar  Saltus'  Imperial 
Purple,  which  is  written  in  imperial  prose. 

The  Romans  are  revealed  in  a  pageant  of  highlights. 
Cicero  obtained  a  divorce  on  the  ground  that  his  wife 
did  not  idolize  him.  Claudius'  wife,  Messalina,  went 
hunting  adventures  thru  the  streets  of  Rome.  And  Nero 
kicked  his  wife,  Sabina,  to  death. 

Julius  Caesar  was  tall,  slender,  superb,  and  so  perfectly 
set  out  that  Cicero  "mistook  him  for  a  fop"  and  Cato 
called  him  "that  woman."  He  is  seen  in  his  triumphal 
procession  returning  to  Rome  from  Spain,  Pharsalus,  and 
Cleopatra's  arms,  sitting  in  his  jeweled  car,  blinking  his 
tired  eyes,  his  face  and  arms  painted  vermilion ;  on  his 
head  a  wreath  concealing  increasing  baldness ;  behind  him 
a  boy  admonishing  him  noisily  to  remember  he  was  a 
man.  .  .  .  Save  in  battle,  Caesar's  health  was  poor,  his 
strength  was  undermined  by  incessant  debauches,  and  he 
was  epileptic,  as  were  Dostoievsky,  Petrarch,  Moliere, 
Flaubert,  St.  Paul,  Handel,  and  others. 
(Continued  on  page  69) 


Page  Thirty-Nine 


Photo  by  J.  W.  Pondelicek 


LES  PA VANES 

Under   the   somber   trees,   they   dance 
and  coquette  on  moon-drenched  lawns 


Page  Forty 


Literary  Women  of  the  Northwest 


Photos  by  Henry  Berger,  Jr. 
Port!  rod,  Oregon 


When  an  illness 
sentenced  Hazel 
Hall  (below)  to  a 
wheel  chair,  she 
undertook  delicate 
embroidering  to 
help  fill  her  days. 
Out  of  this  experi- 
ence grew  her  per- 
fect "Needlework 
Poems",  which  form 
Part  Two  of  her 
book  "Curtains." 
There  are  no 
poems  like  them  in 
our  literature ;  they 
rank  her  with  our 
women  poets  of 
highest    talent 


Anne  Shannon 
Monroe  is  a  nov- 
elist and  essayist. 
Also  she  writes 
successful  articles 
on  Women  in 
Business.  But  to 
her  mind  she  has 
accomplished  one 
thing  that  over- 
tops everything 
else  —  a  hik  e 
down  the  coast 
one  winter  from 
Seattle  to  San 
Francisco 


Maryland  Allen 
has  contributed 
countless  short 
stories  to  Eastern 
magazines,  of 
which  the  best 
known  is  an  0. 
Henry  prize  story, 
"The  Urge."  Mrs. 
Allen  does  not 
sit  by  the  fire  and 
spin  yarns;  she 
tracks  down  In- 
spiration in  the 
open,  preferably 
the  South  Sea 
Islands 


Page  Forty-One 


Above,  a  portrait  of  one  of  the  signers  of  the 
historic  Deed  of  Demission.  At  the  left, 
Hill's  famous  "Portrait   of  a  Scottish  Matron" 


SOMEHOW  a  great  many  people  are  under 
the  impression  that  pictorial  photography  is 
a  development  of  the  late  nineteenth  century, 
and  that  Stieglitz,  Steichen,  White  and  Kasabier 
were  the  first  to  demonstrate  that  photography  is 
a  fine  art.  Certainly  this  talented  four  did  a  great 
deal  to  rescue  the  camera  from  the  hands  of  mere 
mechanics  who  were  slowly  but  surely  educating 
the  people  to  commonplace  and  meretricious  stand- 
ards, but  to  David  Octavius  Hill,  a  Scotsman,  must 
be  given  the  credit  for  first  turning  out  pictorial 
work  which  holds  its  own  with  the  best  output  of 
today. 

Hill  was  born  in  Perth  in  1802,  the  son  of  a 
bookseller.  Before  he  had  reached  his  'teens  he 
showed  a  marked  talent  for  drawing.  His  father 
proudly  showed  his  sketches  to  his  customers  and 
hung  the  best  of  them  in  the  window  of  the  old 
shop.  When  the  lad  reached  the  age  of  seventeen 
he  persuaded  his  family  to  send  him  to  Edinburgh 
for  a  thoro  course  in  the  study  of  art.  His  interest 
even  a-s  a  boy  was  directed  toward  landscape  and 
he  specialized  on  this  branch  in  the  course  at  the 
art  school. 

In  1823,  at  the  age  of  twenty-one,  he  exhibited 
with  some  local  success  three  pictures :  Dunkeld  at 
Sunset  and  two  views  of  his  native  town  of  Perth. 
For  the  next  fifteen  years  he  worked  steadily  on 
landscapes,  views  of  famous  Scottish  rivers,  lakes 
and  castles,  and  apparently  finding  a  ready  market 
for  them.    In  1838-  he  was  elected  Secretary  of  the 


The  Father 

of 

Pictorial 

Photography 


A  brief  sketch  of  the  work  of  David 
Octavius  Hill,  a  celebrated  portrait 
painter  of  Scotland,  who  nearly  a  cen- 
tury ago  cannily  discovered  the  camera 
as    a   medium   for  artistic  expression 


Sherril  Schell 


Page  Forty-Two 


SuaDQWLAND 


Society  of  Scottish  Artists, 
which  finally  became  the 
Royal  Scottish  Academy.  As 
secretary  of  the  Academy,  he 
was  instrumental  in  appoint- 
ing a  commission  which 
raised  a  large  sum  for  the 
erection  of  the  Scottish  Na- 
tional Gallery. 

As  a  painter,  Hill's  most 
important  pictures  are  The 
Braes  of  Balochmyle,  Old  and 
New  Edinburgh,  Ruins  of 
Dean  Castle,  Vale  of  the 
Forth,  The  River  Tay,  and 
by  far  his  most  elaborate 
work,  The  Signing  of  the 
Deed  of  Demission.  This 
large  canvas — eleven  feet  and 
four  inches  by  five  feet,  and 
containing  more  than  four 
hundred  and  fifty  portraits — 
is  a  triumph.  A  more  remark- 
able work  of  its  kind  does  not 
exist.  It  is  commemorative 
of  the  Disruption  Act  of  the 
Church  of  Scotland,  and  rep- 
resents the  signing  of  the 
Deed  of  Demission  by  the 
ministers  of  the  first  general 
assembly  of  the  Free  Church. 

To  paint  four  hundred  and 
fifty  portraits  and  so  group 
them  to  produce  a  fine  picto- 
rial effect  was  no  easy  task, 
and  the  difficulty  was  in- 
creased by  the  fact  that  the 
place  of  meeting  was  an  un- 
graceful wooden  shed  with  a 
low  roof  of  boards  that  al- 
most touched  the  heads  of  the 
assembly.  A  further  handi- 
cap was  the  monotony  of  the 
clerical  garb  of  black,  unre- 
lieved save  by  an  equally 
monotonous  array  of  white 
cravats.  The  grandeur  of  the 
scene  was  moral  grandeur. 

This  historical  painting 
represents  twenty-one  years 
of  toil  and  required  a  nature 
richly  sympathetic  and  a  care- 
ful, patient  hand.  The  orig- 
inal now  hangs  in  the  presby- 
tery hall  of  the  Free  Church 
in  Edinburgh,  but  thruout 
Scotland  are  numberless  pho- 
tographic reproductions  of  it. 

It  was  the  problem  of  re- 
producing this  historical  can- 
vas that  first  interested  Hill  in  photography.  It  was 
found  that  the  execution  of  an  engraving  of  the  picture 
of  any  high  degree  of  excellence  would  involve  too  much 
time  and  expense.  The  use  of  the  camera  was  suggested 
by  chance,  and  the  suggestion  was  followed  thru.  From 
that  time  (1842)  Hill  turned  his  attention  to  photog- 
raphy, cannily  noting  what  an  admirable  aid  it  might 
be  in  the  painting  of  portraits. 

The  new  medium  for  expression  soon  cast  a  spell  over 
the  painter  and  it  was  not  long  before  he  devoted  most 
of  his  time  to  it.  Hill  worked  in  "callotype,"  a  process 
long  ago  deserted  for  a  quicker  method.  The  exposures 
were  long,  often  lasting  from  twenty,  minutes  to  an  hour, 


This  "Portrait  of  a  Schoolboy,"  made  about  1843,  is  as  perfect 
in  its  composition,  distribution  of  light,  and  suppression  of 
irrelevant    detail,   as    is   any    work    of    today's    camera    artists 


altho  direct  sunlight  was  frequently  used  to  cut  down 
the  time.  The  model  was  obliged  to  remain  propped  in 
position  while  the  perspiration  streamed  from  his  fore- 
head and  his  cheeks  took  on  the  color  of  ripe  beets.  Evi- 
dently the  people  of  his  generation  were  made  of  sterner 
stuff  than  those  of  ours,  who  find  it  trying  to  remain 
quiet  for  more  than  a  second  or  two. 

Among  the  visitors  to  Hill's  studio  on  Calton  Hill  in 
Edinburgh  were  some  of  the  most  famous  men  and 
women  of  the  time :  among  them  Ruskin,  Millais,  Dean 
Ramsay,  James  Nasmyth  (inventor  of  the  steam  ham- 
mer), Sir  James  Simpson  (discoverer  of  chloroform), 
(Continued  on  page  76) 


Page  Forty-Three 


Two 
Engaging 

Interiors 


Two  of  the  interiors  from  the 
Arts-in-Trades  exhibition  at  the 
Waldorf-Astoria.  The  object  of 
the  exhibition  was  to  show  the 
difference  between  badly  de- 
signed and  poorly  executed  fur- 
niture and  carefully  planned 
and  well  carried  out  design. 
The  exhibitors  comprised  the 
best  interior  decorators,  sculp- 
tors, iron  workers  and  crafts- 
men of  all  kinds.  The  Arts-in- 
Trades  Society  has  been  in  ex- 
istence fifteen  years.  This  is 
their  first  exhibit,  and  they  plan 
to    make    it    an    annual    affair 


Photo  by  F.  M.  Demarest 

The  paneling  in  this  room  is  from  the  old 
state  breakfast-room  in  the  Hamilton  Palace, 
Lanarkshire,  Scotland.  The  carved  over-mantel 
has  the  Hamilton  Arms,  and  dates  from  the 
late  XVII  century.  The  armchair  to  the  left 
of  the  fireplace  has  a  Beauvais  tapestry  top  and 
came  from  the  collection  of  the  famous  Hoent- 
schel.  The  tapestry  at  the  extreme  end  is  Flemish, 
and  dates  from  the  XVII  century.  While  this 
room  is  assembled  from  old  pieces,  it  serves 
to     give     inspiration     to     the    modern     designers 


Photo  by  F.  M.  Demarest 


Interior  by  P.  W.  French 


Practically "  everything  in  this  room  is  a  re- 
production, but  so  faithfully  have  the  designs 
been  worked  out  that  the  charming  Old  World 
air  of  simplicity  has  been  achieved.  It  is  an 
early     XVII     century     English     cottage     interior 

Interior  by  Arthur  Todhunter 


Page  Forty-Four 


Photo  by  J.WHlett 


FLORENCE"  FRENCH 

This  charming  interpretative  dancer  is 
returning  to  the  stage,  after  an  absence 
of  several  years,  in  a  new  musical 
show   called,   "Oh,    What's    the    Use" 


Page  Forty-Five 


Photo  by  White  Studio,  New.  York 


HAZOUTRA 

Now    dancing    with    originality 
and  grace  in  the  "Spice  of  1922" 


Page  Forty-Six 


Johannes 
Kreisler 

Photographs  by  courtesy  of  the  Selwyns 


The  uncommon  production  of  "Johannes  Kreisler"  lasts 
— including  two  intermissions — exactly  two  and  one-half 
hours.  During  this  time  the  forty-two  scene-changes 
take  place.  Of  these,  twenty  are  in  the  first  act,  twelve 
in  the  second,  and  ten  in  the  third.  Pictured  above  is 
an  intensely  dramatic  moment  in  "The  Black  Urn," 
which  is  Scene  Sixteen  of  Act  One 


For  the  past  twenty  months  the  reigning  theatrical  sensa- 
tion of  the  Continent  lias  been  a  fantastic  melodrama, 
"Die  Wunderlichen  Geschichten  des  Kapellmeisters 
Kreisler,"  produced  in  Berlin.  Its  presentation  in  New 
York  this  season  as  "Johannes  Kreisler"  will  afford 
theater-goers  a  rare  pleasure — not  so  much  from  a  dra- 
matic standpoint  as  in  point  of  novelty.  For  it  is 
unique.  Its  forty-two  scenes  pass  before  the  eye  in 
kaleidoscopic  variety  by  aid  of  a  technical  novelty  in- 
vented by  Svend  Gade  especially  for  the  production.  The 
setting  reproduced  below  is  one  of  unusual  luminosity 


That  meticulous  care  has  been  taken 
to  produce  congruous  costumes  un- 
usual in  design  is  demonstrated  by 
the  above  sketches  of  the  Ballet 
Girl,  the  weird  Water  Man,  the 
Schoolmaster,  and    the   Dancing   Nun 

Since  Lautenschlaeger  with  his  re- 
volving stage  gave  impetus  to  stage 
reform,  there  has  been  a  great  deal 
of  more  or  less  successful  experi- 
mentation in  an  effort  to  expedite 
scene  changes.  Therefore,  this  new 
stage  creation  by  Svend  Gade  has 
stirred  the  interest  of  two  continents, 
for  the  innovations  achieved  by  him 
will  revolutionize  the  mechanics  of  the 
stage.  Mr.  Gade  himself  will  superin- 
tend the  American  production,  for 
Germany  declined  to  allotv  his  inven- 
tion to  leave  the  country  except  under 
bond  and  accompanied  by  the  inventor 


Page  Forty-Seven 


The  Cad  As  Hero 

Broadway  Plays  Fill  the  Stage  With  Entertaining  Undesirables 

By  Kenneth  Macgowan 


THE  cad  is  the  hero  of  the  modern  theater.  Realism 
decreed  so  when  it  said  that  the  drama  must  be  a 
photograph  of  life. 

In  the  old  days  heroes  may  have  been  good  or  they 
may  have  been  bad,  but  at  any  rate  they  were  always 
heroic.  They  towered  clear  out  of  the  petty  sins  of  the 
man-next-door.  Nowadays,  when  we  want  a  protagonist, 
we  hunt  up  an  ill-bred  waster,  a  sensual  coward,  a  self- 
indulgent  old  fool,  or  a  young  business  man  on  the  make. 
Any  one  of  our  neighbors  will  do,  so  long  as  he  is  enough 
like  us  to  be  rabbit-size  in  any 
spiritual  crisis. 

All  but  one  of  the  ten  out- 
standing plays  produced  on 
Broadway  in  September  have 
cads  for  heroes,  and  ten  more 
would  show  a  yellow  streak 
somewhere  if  I  had  the  patience 
to  try  to  remember  what  on 
earth  those  failures  were  about. 

Of  course,  the  cad  can  make 
very  exciting  entertainment. 
John  Galsworthy  learned  this 
long  ago.  When  he  has  a  per- 
fectly honest,  but  utterly  help- 
less man  for  a  hero  (as  in  Jus- 
tice, for  instance),  you  may  be 
sure  he  surrounds  him  with  all 
manner  of  cads,  including  soci- 
ety itself.  In  Loyalties,  his 
newest  and  by  far  his  most  ef- 
fective drama,  he  has  provided 
a  whole  cast  of  cads.  One  man 
— an  attorney,  who  gives  up  a 
case  when  he  finds  his  client  is 
guiky  of  crime  —  ought  to  be 
absolved,  and  would  be  by  any- 
body but  an  American  lawyer. 
But  all  the  rest  of  these  "loyal" 
gentlemen  are  a  sad  lot.  The 
character  upon  whom  Gals- 
worthy and  his  audience  lavish 
most  sympathy  is  a  rich  young 
Jew  who  cuts  up  a  dreadful 
fuss  because  he  has  his  purse 
stolen  at  a  country  house.  The 
thief  is  "an  officer  and  a  gentle- 
man" who  is  bored  by  peace 
and  who  needs  the  money  to 
silence  the  father  of  a  girl  he 
has  ruined. 

These  cads  provide  an  exceedingly  interesting  enter- 
tainment. To  begin  with,  Galsworthy  has  put  them  thru 
a  series  of  events  full  of  interest  and  suspense ;  the  track- 
ing of  the  thief  has  something  of  the  appeal  of  the  murder- 
mystery.  On  top  of  that,  the  playwright  has  made  the 
most  of  the  fumbling  human  nature  which  these  figures 
present;  the  play  illumines  the  dark  corners  of  these  little 
minds  and  shows  us  the  faults  that  we  recognize  in 
everyone  about  us.  Finally,  these  nicely  shaded  character- 
studies  provide  good  material  for  the  actor.  Basil  Dean, 
the  English  producer,  has  got  together  an  admirable  en- 
semble from  relatively  unknown  players. 


MY  HEART 

By  Charles  Divine 

]\/fY  heart  is  a  Little  Theater 
■^   -*     Playing  poetic  dramas  in  soft  lights 
To  an  audience  limited  to  you. 
Pierrots  in  pale  disorder, 
Walk  the  stage  with  ecstasies 
That  burst,  like  Latin  temperaments, 
In  high,  gesticulating  eloquence; 
And  actors,  never  recognized  before, 
Tear  off  their  masks  and  speak  a  part 
More  startling  than  a  dream. 

But  why  do  you,  exclusive  audience, 
Always  arise  and  leave  before  the  end? 
Is  it  because  the  simple  theme 
Will  pass  into  your  heart — 
Or  over  your  head? 

My  heart  is  a  "Theatre  Intime" 
Playing  poetic  dramas  in  soft  lights 
To  an  audience  limited  to  you, 
But  every  time  the  curtain  falls 
There  is  a  suffocating  silence  .  .  . 
And  I  myself  must  hurry  out  in  front 
To  cry:  "Author!    Author!" 


There  are  doubtless  some  playgoers  who  would  question 
the  morals  of  the  heroine  of  Rose  Bernd,  the  play  by 
Hauptmann,  in  which  Ethel  Barrymore  is  beginning  her 
season  of  repertory  under  Arthur  Hopkins'  management. 
But,  tho  Rose  was  rather  free  with  the  husband  of  her 
mistress,  her  tragedy  must  be  laid  to  an  imperfect  knowl- 
edge of  birth  control,  and  to  the  dissolute,  cowardly,  or 
over- righteous  attitude  of  her  neighbors.  It  takes  a  pretty 
lot  of  cads  to  bring  this  staunch  peasant  to  madness  and 
the  murder  of  her  baby.  The  passionate  but  pusillani- 
mous magistrate,  in  which  part 
Dudley  Digges  has  been  mis- 
cast ;  the  village  rake,  played 
with  dash  and  power  by  McKay 
Morris  ;  Rose's  adamant  old 
father,  stiffly  and  vigorously 
acted  by  William  B.  Mack,  and 
a  circling  assortment  of  igno- 
rant, narrow  country  types. 

Rose  Bernd  is  a  play  made 
out  of  simple  and  powerful  ma- 
terials that  somehow  fail  to 
make  the  overwhelming  dramat- 
ic effect  that  they  ought  to.  The 
fault  is  largely  Hauptmann's 
for  sticking  too  close  to  the 
five-act  form  of  construction, 
and  leaving  two  important  epi- 
sodes to  a  hazy  sort  of  explana- 
tion in  other  scenes.  Ludwig 
Lewisohn,  the  translator,  has 
made  a  bad  botch  of  the  country 
dialect.  And  Arthur  Hopkins 
—  trying,  like  all  of  us  in 
America,  to  escape  from  the 
grubby  reality  of  our  past — has 
created  a  nice,  well-bred  version 
of  peasantry,  instead  of  the 
reality  —  vital,  lustful,  panting. 
There  are  two  impersonations 
of  Ethel  Barrymore  to  be  seen 
in  New  York  theaters  this  fall. 
One  is  in  Somerset  Maugham's 
obvious  and  not  very  exciting 
Chinese  melodrama,  East  of 
Sues.  When  its  star,  Florence 
Reed,  isn't  "emoting"  in  her 
usual  fashion,  she  is  forcing  her 
words  tensely  thru  her  teeth  in 
the  familiar  Barrymore  manner. 
I  expected  her  to  step  slightly 
forward  at  the  end  of  the  first  act,  and  say:  "It's  all 
there  is.  There  isn't  any  more."  Unfortunately  she  dis- 
appointed me.     The  play  went  right  on. 

Rose  Bernd  provides  the  other  glimpse  of  Miss  Barry- 
more's  art.  In  the  main  it  is  highly  satisfactory.  There 
are  moments,  I  must  confess,  when  this  player  has  grave 
trouble  getting  out  of  the  draped  velvet  of  a  mad,  mad 
Varrick  and  into  the  homespun  of  Rose.  But  in  her  two 
most  important  scenes  she  sweeps  along  with  a  grand  sort 
of  power  that  no  other  American  actress  can  quite  touch. 
The  caddishness  of  the  hero  of  La  Tendresse  is  not  so 
(Continued  on  page  66) 


Page  Forty-Eight 


,, 


Photo  by  Edwin   Bower  Hesser 


Norma  Talmadge  has  completed  "The  Voice  from  the 
Minaret,"  and  is  now  in  the  land  of  the  Great  Sphinx — 
perhaps  to  cajole  from  him  some  secret  of  ancient  Egypt  that 
she  can   use   in  her   next  picture   "The   Garden   of  Allah" 


Page  Forty-Nine 


Robert  James  Malone:  Versatile  Caricaturist 


Robert  James  Malone, 
who  started  as  a  car- 
toonist on  a  Baltimore 
paper,  has  developed  a 
remarkable  technique, 
or  rather  variety  of 
techniques,  in  his  cari- 
cature work.  He  uses 
imagination  and  varies 
his  method  to  suit  his 
subject.  There  is  an 
underlying  vein  of 
seriousness  in  his 
things  that  is  absent 
from  the  work  of  most 
American  cartoonists. 
He  spends  most  of  his 
time  in  Washington, 
where  subject  matter 
for    him    is    abundant 


Senator  William  E.  Borah  struggles  with  the  seven- 
headed  political  hydra;  as  usual  he  poses  before 
the  spotlight.  This  caricature  is  a  decided  de- 
parture   from    the    usual    pen-and-ink    satirization 


Senator  John  Sharp  Williams  takes  on  the  role 
of  Perseus,  en  route  to  Yazoo  City  with  his  basket 
of  halos,  spoils  of  his  hard-won  battles  on  the  floor. 
Again  Malone  has   produced  a  poetic  conception 


Senator  William  E.  Borah,  in  less 
allegorical  guise,  peers  under 
his  shaggy  brows  as  he  takes  his 
usual  aggressive  debating  pose. 
Malone  here  has  made  a  carica- 
ture whose  shadows  resolve  into 
geometrical  masses;  this  is  pre- 
vious   to    making    a    wood-cut 


"SiLJll 


Senator  Miles  Poindexter,  of 
Washington;  since  1911  he  has 
dignified  the  Senate  by  his 
presence.  Malone  has  caught 
his  one  bizarre  note,  the  flaunt- 
ing necktie,  while  the  rest  of 
the  figure  is  developed  in 
the  simple  outline  and  shading 


Jascha  Heifeitz;  emphasizing 
the  bow  arm,  Malone  does  a  dry- 
point  caricature  of  the  famous 
violinist.  He  has  secured  a  com- 
position of  blacks  tempered 
with  delicate  line  and  yet  man- 
aged to  get  a  great  deal  of  mo- 
tion into  the  etching.  This  is 
a    new    medium   for    caricature 


Page  Fifty 


Three  Women  Poets 

The  Ironist — The  Lyricist — The  Rebel 

By  Babette  Deutsch 

I:    Edna   St.  Vincent    Millay 


ONE  of  the  sharpest  elements  in  the  poetry  written 
by  American  women  is  that  of  humor.  The  spirit 
of  comedy  plays  alike  over  the  meager  and 
strangely  majestical  output  of  Emily  Dickinson  and  over 
the  images  of  that  grave,  delightful  child,  Hilda  Conk- 
ling.  It  is  as  tho  the  feminine  mind,  preoccupied,  as 
it  is  said  to  be,  with  what  is  personal  and  immediate, 
escaped  from  its  own  intensities  by  delicate  mockery  of 
itself.  This  is  true  not  only  of  those  mentioned  above 
but  also  of  such  various  poets  as  Adelaide  Crapsey,  Jean 
Starr  Untermeyer,  and  Elinor  Wylie.  It  is  especially 
true  of  Edna  St.  Vincent  Millay,  whose  rare  power  gives 
her  a  unique  position  among  her  contemporaries.  Hers 
is  not  light  laughter.  It  is  rather  that  fine  shrewd  irony 
which  pierces  below  the  tragedy  to  the  white  kernel  of  its 
truth.  She  is  like  a  rag-picker,  sorting  out  the  facts  of 
life,  and  finding  among  these  bones  and  old  bottles  the 
strong,  supple,  shining  stuff  which  makes  her  toil  fas- 
cinating and  rewarding. 

She  will  take  an  outworn  platitude  and  so  turn  it  and 
twist  it  and  furbish  it  that  it  becomes  a  new  thing  between 
her  fingers.  And  it  is  always,  or  almost  always,  with  an 
ironic  gesture  that  she  does  this.  She  forces  the  gesture 
upon  one  in  the  orange-colored  sheaf,  Figs  from  Thistles, 
which  she  published  in  1920,  three  years  after  her  first 
volume,  Renascence,  had  brought  her  into  sudden  fame. 
Thus  her 

FIRST    FIG 

My    candle    burns   at    both    ends; 

It  will  not  last  the  night; 
But    ah,    my    foes,    and    oh,    my    friends — 

It  gives   a   lovely    light! 

She  handles  in  much  the  same  way  the  sonnets  which  are 
the  final  figs  pulled  from  her  thistle-patch.  They  are 
richer  in  sophisticated  satire  than  the  sonnets  in 
Renascence,  but  it  belongs  to  Miss  Millay 's  gift  that  they 
should  be  just  as  stern.  The  very  root  of  her  irony  is 
her  intensity,  her  ability  to  sense  sharply,  to  probe  deeply, 
to  flinch  in  nowise  before  what  is  to  be  suffered  or  to  be 
seen.  That  this  is  wisdom,  one  feels  in  reading  the  con- 
clusion of  the  remarkable  poem  which  gave  its  title  to 
her  first  book  : 

The  world  stands  out  on  either  side, 
No  wider  than   the  heart  is  wide; 
Above  the  world  is  stretched  the  sky — 
No  higher  than  the  soul  is  high. 
The   heart   can  push    the   sea   and   land 
Farther  azvay  on  either  hand; 
The  soul  can  split  the  sky  in  tzvo, 
And   let   the   face    of   God   shine    thru. 
But   East    and    West   will    pinch    the    heart 
That   cannot   keep    them   pushed   apart; 
And  he  whose  soul  is  flat — the  sky 
Will  cave  in  on  him  by  and  by. 

Her  own  heart  is  not  pinched,  whatever  else  it  may  be, 
and  it  is  not,  if  we  believe  her,  altogether  a  noble  heart 
either.  Her  poems  are  full  of  cruelty — and  of  tenderness, 
and  she  likes  to  pour  the  bitterest  potion  into  a  cup  of 
disarmingly  exquisite  design.  Her  work  has  been  com- 
pared, not  idly,  with  that  of  the  Elizabethans,  with  their 
ready  acceptance  of  the  whole  rich,  strong,  vulgar  brew 


that  their  times  had  to  offer.  It  is  perhaps  truer  that  she 
derives  from  Donne,  whom  she  was  at  pains  to  study, 
the  leader  of  the  "metaphysicals"  and  one  of  the  greatest 
if  least  known  of  the  English  poets.  From  him  she 
could  learn  to  mix  love  and  biology,  religion  and  plain 
passion  unashamedly  and  without  absurdity.  But,  her 
own  unlessoned  genius  insisted  on  the  piling  up  of  com- 
mon, concrete  things  which  makes  her  slightest  and  her 
finest  poems  instinct  with  life.  Thus  in  Exiled  this  home- 
sick native  of  Maine  cries  out: 

Ahvays    I    climbed    the    zvave   at    morning, 
Shook   the   sand  from    my   shoes   at   night. 

That    now    am    caught    beneath    great    buildings, 
Stricken    with    noise,    confused    zvith    light. 

And  the  same  small,  homely,  arresting  details  are  to  be 
found  in  such  poems  as  Elegy,  Spring,  many  of  the  son- 
nets, and  in  her  infinitely  poignant  Lament. 

Miss  Millay's  work  is  not  without  flaw.  There  are 
moments  when  she  seeks  vainly  to  recapture  the  mag- 
nificently simple  movement  of  Renascence,  other  moments 
when  she  permits  her  facility  to  betray  her  into  empty 
grace.  But  this  is  rare,  and  the  average  of  her  work 
is  so  distinguished  as  easily  to  bear  any  insult  she  may 
put  upon  it.  It  fairly  cries  for  quotation,  and  it  is  a 
further  tribute  that  it  should  be  so  difficult  to  quote  less 
than  the  entirety  of  a  poem.  She  builds  up  to  her  climax 
— as  was  evidenced  all  the  more  in  her  two  poetic  plays : 
Aria  Da  Capo  and  The  Lamp  and  the  Bell.  Her  lyricism 
■ — which  seems  a  matter  of  course  among  her  more  vivid 
gifts  of  passion  and  wit  and  pity — may  be  heard  in  this 
'stanza  from  Elegy : 

But  your  voice — never  the  rushing 
Of  a  river  underground, 
Not   the   rising    of   the   wind 
In    the    trees    before    the    rain, 
Not  the  woodcock's  watery  call, 
Not    the    note    the    white-throat    utters, 
Not  the  feet  of  children  pushing 
Yellozv  leaves  along  the  gutters 
In  the  blue  and  bitter  fall, 
Shall  content  my  musing  mind 
For  the  beauty  of  that  sound 
»       That  in  no  new  zvay  at  all 
Ever  will  be  heard  again. 

II:    Sara  Teasdale 

Music,  rather  than  the  stronger  ingredients  of  Miss 
Millay's  poetry,  is  to  be  found  in  the  work  of  Sara 
Teasdale — work  that  is  relatively  small  in  compass,  but 
which  has  placed  its  author  as  the  foremost  of  our  lyric 
poets.  Miss  Teasdale  is  far  more  feminine,  in  the  ac- 
cepted sense  of  the  adjective.  Her  verse  is  sweeter,  softer, 
given  to  the  gentler  aspects  of  emotion,  the  more  fugitive 
shades  of  love's  fears  and  doubts  and  desires.  Where 
Edna  Millay  sees  the  blossoming  pear-tree  in  a  "squalid 
dirty  dooryard" : 

Mindful  of  the  eyes  upon  it, 

Vain  of  its  new  holiness, 
Like     the    waste-man's     little     daughter 

In  her  first  communion  dress, 

(Continued  on  page  71) 


Page  Fifty-One 


"**  ;j 

*  t 

•^     0 

m 

%  :l 


TWILIGHT 

By  Robert  Hawley 

First  Prize 
This  picture  has  a  decorative  quality,  a  nice  dis- 
tribution of  objects,  and  is  very  simply  treated 


Page  Fifty-Two 


The  Camera  Contest 

Editor's  Note — It  is  with  great  pleasure  that  we  publish  this  article  on 
camera  lenses  by  Bernard  H.  Home.  Mr.  Home  is  technical  instructor  at  the 
Clarence    White   School    of   Photography   and   is   an    authority    in    his   subject. 


The 

Camera 

Lens 

By 

Bernard 
H.  Home 


STREAMERS 
By  Charles  H.  Jaeger 
Honorable  Mention 
The  rendering  of  the  water  is  the  out- 
standing  feature    of   this   photograph 


ON  DECK  OF  METAGAMA 

By  Johan  Hagemeyer 

Third  Prize 

In  spite  of  the  unusual  placement  of  subject 

matter,    the    picture    has    excellent    balance 


THE  lens  is  the  eye  of  the  camera 
Unlike  the  human  eye,  it  sees  in 
detail  all  in  its  range  of  vision. 
Its  range  of  vision  is  governed  by 
its  focal  length,  so  that  the  focal 
length  of  a  lens  is  very  im- 
portant to  one  who  wishes  to 
make  pictures  with  a  cam-       A 
era.      Roughly    speaking, 
the  focal  length  of  a  lens       JF 
is  the  distance  in  inches       ,      . 
from  the  center  of  the 
lens    to    the    film    or 
plate,  when  the  objects 
focused   on   are   at   a 
distance  of  about  fifty 
feet    from    the    cam- 
era.    In  the  Brownie 
and  fixed  focus  cam- 
era the  focal  length  is 
usually  the  length  of 
the   camera    when 
ready    for  use.     The 
range    of    vision    and 
focal  length  are  close- 
ly    related,     for     the 


OUT   OF   THE   MIST 

By  Eleaner  L.  Smith 

Second  Prize 


nearer  the  film  is  to  the  lens  the  greater  is 
the    angle    of    vision,    and    vice    versa. 
Now,    in    trying    to    make    pictures, 
elimination  is  important.     It  must 
be  simple,  or  in  other  words  the 
subject  to  be  made  a  picture 
of  must  not  have  a  lot  of 
unrelated  things  on  either 
side.    There  are  two  ways 
of  doing  this,  by  going 
closer  with  the  camera 
or  by  having  a  lens  of 
longer  focal  length.  In 
the    former    we    are 
likely   to    have   exag- 
gerated perspective, 
which   is   shown  in 
portraits  of  people 
where  the  feet  are 
much  too  large. 

Now,  as  to  what 
kind  of  a  lens  to  use,  I 
will  have  to  repeat 
what  has  been  said  by 
many  authorities,  that 
pictures  have  been 


The  accepted  and  stereo- 
typed point   of  view  has 
been   avoided 


Page  Fifty-Three 


SwiADOWLAND 


A  SUMMER  STUDIO 

By  Edith  R.  Wilson 

Honorable  Mention 

The  variety  and  treatment  of  the  angles 

in     this    photograph     lend     it     interest 


made  with  every  kind  of  lens  and  with  no 
lens.  The  modern  method  of  making  a  pic- 
ture has  been  to  try  to  reproduce  it  as  the 
eye  sees  it  in  nature.  The  pinhole  in  a 
piece  of  black  paper  in  place  of  a  glass  lens 
comes  nearer  that  result  than  anything  else 
and  by  extending  the  bellows  of  a  camera 
we  have  any  focal  length  and  can  eliminate 
anything  unnecessary,  but,  owing  to  the 
small  amount  of  light  passing  thru,  the  ex- 
posure is  too  long,  except  for  some  land- 
scapes and  outdoor  work.  I  think  the 
modern  soft  focus  lens  which  approximates 
the  pinhole  quality  is  the  one  I  prefer  for 
all-around  work. 

As  this  is  the  day  of  small  cameras  which 
are  carried  around  in  the  pocket,  a  few  words 
about  them  will  not  be  out  of  place.  As  a 
rule,  pictures  made  by  this  class  of  cameras 
are  too  small  for  exhibition,  so  enlargements 
or  enlarged  negatives  must  be  made,  and 
by   various    printing   processes    try   to   ap- 


FIFTH  AVENUE  AT  ST.  PATRICK'S 

CATHEDRAL 

By  Kenneth  D.  Smith 

Honorable  Mention 

It    took    patience    to    wait    until    the    groups    of 

people    were    placed    so    as    to    preserve    balance 


proximate  the  softness  and  quality  of  our  original 
pinhole.  A  Brownie  or  fixed  focus  camera  requires 
less  knowledge  of  photography  than  any  other 
camera  and,  if  the  operator  can  select  and  know  a 
picture  when  seen,  all  that  has  to  be  done  is  to 
point  in  the  right  direction  and  press  the  button. 

But  I  believe  I  am  supposed  to  talk  about  the 
lens  and  not  the  camera,  so  I  will  start  with  the 
lens  most  commonly  used,  the  anastigmatic.  There 
are  all  kinds  and  all  do  good  work.  They  are 
rather  costly  and  the  greater  the  focal  length  the 
greater  the  cost,  so,  to  bring  the  outfit  within  a 
reasonable  price,  a  focal  length  is  made  to  just 
cover  the  plate  with  sharp  detail  to  the  corners. 

This  lens  is  made  and  recommended  to  have 
great  flatness  of  field  and  fine  detail  all  over  the 
negative.  This  means  that  the  full  size  opening 
of  the  lens  may  be  used,  allowing  the  passage  of  a 
great  deal  of  light,  hence  great  speed.  Also,  that 
everything  in  one  plane  is  in  sharp  focus,  tho  ev- 
erything in  the  other  planes  is  out  of  focus  and 
therefore  blurred  in  the  picture.  By  this  one  sees 
that  for  all  speed  work,  sports,  and  press  work,  a 
good  anastigmatic  lens  is  to  be  desired. 

The  soft  focus  lenses  are  recommended  spe- 
cially for  picture  making,  but  they  will  not  do  this 
indiscriminately.  They  must  be  studied  and  tried 
out  by  numerous  exposures  of  the  same  subject 
under  different  conditions  and  with  different  size 
stops,  until  one  becomes  familiar  with  the  lens, 
otherwise  it  is  hit  or  miss,  and  judging  from  numer- 
ous prints  shown  it  is  usually  miss.  These  lenses 
are  constructed,  or  should  be,  so  no  one  plane  is  in 
much  sharper  focus  than  another,  so  there  is  no 
(Continued  on  page  74) 


Page  Fifty-Four 


Photo  by  Hohen 


JEAN  ARUNDEL 

Jean  may  not  have  a  Motto,  but  she  hopes 
to   win   a    prize    in    the    Beauty   Contest 


Page  Fifty-Five 


"Spite  Corner":  Madge  Kennedy  waits  for  the 
interpretation  of  Fate  thru  the  medium  of  Marie 
L.  Day,  while  Mattie  Keene  makes  garish  re- 
ir.irks  and  Eva  Condon  looks  on  apathetically 


Tragedy   and 

Comedy  in 

Black  and 

White 


Sketches  by 
Reginald  Marsh 


i^^i^lrijiliiSlil^iiliillJS^fe:;: 


"Malvaloca":  Rollo  Peters  and  Jane  Cowl 

may   be   interpreting   modern  Spain,   but 

they  go  against  all  preconceived  notions 

of  that  picturesque  country 


"So  This  Is  London":  Marion  Grey,  Leah 
Winslow,  Donald  Gallagher,  Marie  Carroll, 
Edmund  Breese  and  Lawrence  D'Orsay  in 
the  farce  depicting  the  Englishman's  Amer- 
ican     and      the      Americans      Englishman 


"Rose  Bernd":  Doris  Rankin  as  the  invalid  wife, 
Dudley  Digges  as  the  unfaithful  husband,  and 
Ethel  Barrymore  as  the  "other  woman,"  dur- 
ing    a     tense     moment     in     Hauptman's     play 


Page  Fifty-Six 

\ 


The  Play,  the  Part,  and  the  Time 

One  of  Broadway's   alluring  Young  Stars  remains  true    to    her    First    Love — the    Stage 

By  Benjamin  De  Casseres 


HERE  is  a  feminine  Broadway  star  whose  beau- 
tiful face  you  have  never  seen  on  the  screen! 
Quel  mystere! 

She  is  Lola  Fisher,  co-star  with  Alfred  Lunt  in  Banco. 
Such  an  anomaly  on  the  Great  White  Turnpike  aroused 
my  curiosity.  But  before  I  asked  her  the  reason  why 
she  had  not  wooed  the  celluloid  tape  I  thought  I'd  find 
out  something  about  her  life  and  previous  condition  of 
theatrical  servitude. 

There  was  no  previous  condition  of  servitude.  None 
of  the  "terrible  struggles"  you  read  about  in  the  "best 
sellers"  and  Leonard  Merrick.  She  just  "growed"  into  a 
star,  like  Topsy.  The  Fates  handed  her  a  bunch  of 
American  Beauties  from  the  first. 

She  has  been  seven  years  on  the  stage,  and  is  still  in- 
conceivably young.  Of  medium  height,  and  slender, 
Miss  Fisher  has  the  round  face  of  a  child  with  the  ex- 
treme delicacy  of  coloring  only  seen  in  childish  com- 
plexions. Her  eyes  are  a  soft  brown,  big  and  wide  apart, 
with  long  lashes,  while  her  hair  is  the  shining  gold-brown 
one  would  naturally  expect  to  see  with  such  eyes. 

Miss  Fisher  fairly  puckers  with  individuality.  She  has 
been  endowed  with  keen  intelligence.  She  reads  and 
studies,  she  paints  and  does  very  clever  caricatures  with 
her  pen. 

Now,  I  am  congenitally  sex-shy.  Whenever  I  have  to 
face  a  beautiful  young 
woman  for  an  inter- 
view, I  fortify  my 
backbone  by  reading 
Schopenhauer  on 
women.  It  has  the 
same  effect  on  me  as 
three  cocktails  before 
striking  the  boss  for  a 
raise. 

But  when  I  entered 
the  dressing-room  of 
Miss  Fisher  an  hour 
before  a  Saturday  mat- 
inee, my  Schopenhauer 
epigrams  vanished. 
My  shyness  receded.  I 
was  in  the  presence  of 
naturalness,  spontane- 
ity and  a  young  woman 
who  immediately  put 
me  at  my  ease  by  say- 
ing with  a  laugh : 

"But  I  never  talked 
fifteen  hundred  words 
in  my  life — good  gra- 
cious!" 

"Well,"  I  replied, 
"maybe  we  can  talk  fif- 
teen hundred  words 
together  and  I  can  say 
you  said  it  all !" 

A  challenge!  And 
Miss  Fisher,  I  soon 
saw,  could  not  be  chal- 
lenged with  impunity. 
With  the  most  pro- 


LOLA  FISHER 


voking  of  smiles  she  trained  her  guns  on  me  as  she  sat 
at  her  dressing-table  under  an  immense  tower  of  flow- 
ers, the  names  of  which  she  laughingly  confessed  she  did 
not  know.  ( She  was  born  in  Chicago,  you  see,  where 
there  are  no  flowers.  I  was  wishing  I  had  brought  my 
California  Handbook  of  Botanical  Wonders  to  read  to 
her,  for  it  is  there  the  old-fashioned  geranium  be- 
comes a  hedge  fence,  the  passion  flower  a  thing  of  mathe- 
matics and  mystery,  and  the  oleander  races  with  the 
eucalyptus.  I  discovered  also  that  she  is  just  as  beau- 
tiful off  the  stage  as  on — maybe  a  little  more  so.) 

I  asked  Miss  Fisher  why  she  had  not  gone  into  the 
"movies." 

"I  am,"  she  said,  "taking  my  apprenticeship.  No  one 
should  go  into  the  movies  before  learning  stagecraft  from 
the  stage  itself.  I  am  waiting  for  the  play,  the  part  and 
the  time.  I  do  not  want  an  uncongenial  part  in  the  films. 
I  look  on  my  work  as  play — isn't  that  the  reason  I  have 
succeeded  so  quickly?  In  my  stage  career  I  have  never 
tried  hard.  I  have  just  waited.  Patience  and  play  are 
my  mottoes.  And  Lam  waiting  for  the  'movies'  to  come 
to  me. 

"In  signing  my  stage  contracts  I  always  insist  on  leav- 
ing the  way  clear  for  an  acceptance  of  the  many  offers 
I  am  constantly  receiving  to  do  picture  work.  I  believe, 
however,  that  my  first  duty  is  toward  the  producer  of 

the    play    I    am    acting 
in." 

"I  am  told  that  you 
are  a  painter  and  cari- 
caturist besides  being 
an   actress.    A   woman 

caricaturist !" 

"Yes,  I  do  carica- 
tures, and  my  friend, 
Charles  Hanson 
Towne,  says  I  am  the 
only  one  extant.  You 
see,  I  dabbled  in  paint- 
boxes with  my  sister, 
Blanche  Fisher  Laite, 
ever  since  I  was  a 
child.  We  used  to 
smear  up  our  house 
with  colors.  I  always 
wanted  to  paint.  When 
a  child  I  wanted  to  put 
into  colors  every  tree, 
horse  and  house  that  I 
saw.  I  still  indulge,  but 
I  do  not  believe  I'll 
ever  be  a  Rosa  Bon- 
heur.  Anyhow,  the 
stage  has  now  become 
my  absorption.  But, 
you  see,  I  am  still  with 
the  Muses.  Is  there  a 
Muse  for  actresses  ? 

"About  caricatures — 

I    never    knew    I    did 

them  till  someone  told 

me.     I  always  saw  the 

(Cont'd  on  page  78) 


Photo  by    Drake 


Page  Fifty-Seven 


The 

Continental 

Cinema 


Photographs  ©  by  Dorien 
Leigh,  Ltd.,  of  London 


At  the  top  appears  Asta  Niel- 
son,  the  famous  Swedish  film 
star,  who  is  best  known  in  this 
country  for  her  playing  of 
Hamlet.  Miss  Nielson  is  one  of 
the  few  really  distinguished 
players  of  the  screen.  At  the 
right  is  a  highly  popular  Ger- 
man film  actress,  Erna  Morena 


Page  Fifty-Eight 


Study  of  Nazimova  by  Rice 


BARS  OF  ILLUSION 


Page  Fifty-Nine 


The 
House 

of 
Wagner 


Above  is  Siegfried  Wagner  and  his  family.  Herr  Wagner  is  the  son  of  the  great 
composer,  and  is  coming  to  America  next  spring  to  get  in  touch  with  the  lovers 
of  Lohengrin"  "Tannhauser,"  "Parsifal,"  and  other  famous  operas  of  his  father,  and 
to  raise  funds  that  the  yearly  Wagner  Festival  at  Bayreuth  may  not  be  discontinued 

Below,  Madame  Nina  Koshetz  of  the  Moscow  Opera  poses  in  her  Manhattan  studio  for 
her  husband,  Alexander  de  Shubert  (left),  and  the  Japanese  artist,  Toyohari  Yama- 
nouchi.  Madame  Koshetz,  who  has  sung  with  the  Chicago  Opera  Company  and  in  recital 
in  New  York,  is  now  touring  the  country  with  the  famous  Ukrainian  National  Chorus 


In  a 

Prima 

Donna's 

Studio 


Page  Sixty 


Art  Comment 


4T  last  Paris  has  a  place  in  which  to  hang  the  foreign 

/%  collections  that  have  either  been  bought  by  or 
1.  Jl  presented  to  the  Luxembourg.  This  new  gallery 
is  on  the  Tuileries  terrace  and  is  called  the  Salle  dc  Jen 
de  Paume.  The  American  collection  makes  an  excellent 
showing.  There  was,  before  the  opening,  some  specula- 
tion about  Whistler,  but  he  appears  in  the  American  group, 
as  does  Sargent  and  Mary  Cassatt.  Sargent  is  repre- 
sented by  Carmcncita,  Mary  Cassatt  by  a  pastel  of  Mother 
and  Child;  naturally,  Whistler's  Mother  is  there,  as  well 
as  L'Homme  a  la  Pipe. 

The  full  list  of  Americans  represented  is  much  too  long 
to  give,  but  Gari  Melchers  and  William  McEwen  are 
among  the  Impressionists,  while  the  landscapists  and  sea- 
scapists  include  Robert  Henri,  Colin  Campbell  Cooper, 
Florence  Este 
and  Edwin 
Lord  Weeks. 
In  the  sculp- 
ture group  are 
found  Paul 
Manship's  Girl 
and  the  Two 
■Gazelles, 
Jo  Davidson's 
portrait  bust  of 
President  Wil- 
son, and  George 
Gray  Barnard's 
Lincoln. 

To  come  back 
from  foreign  to 
native  affairs, 
the  National 
Association  of 
Women  Paint- 
ers and  Sculp- 
tors is  in  the 
midst  of  a  busy 
season.  Only 
three  days 
elapsed  be- 
tween the  close 
of  their  exhibi- 
tion at  the  Fine 
Arts  Galleries 
and  the  open- 
ing of  an  exhibition  at  the  Corcoran  Galleries  at  Wash- 
ington, to  which  they  had  been  asked  to  submit  forty 
paintings,  twenty  miniatures  and  twenty  pieces  of  sculp- 
ture. The  Corcoran  exhibit  will  last  until  December 
third.  Meanwhile,  beginning  the  first  of  December  at 
the  Ferargil  Galleries,  the  same  Association  will  show 
drawings  by  the  members.  But  that  isn't  all,  for  included 
in  the  program  of  the  American  Federation  of  Arts,  which 
plans  to  hold  exhibits  thruout  the  United  States,  during 
the  season,  are  sixty  paintings,  fifteen  miniatures  and 
twenty  bronzes  from  the  Women  Painters  and  Sculptors. 

There  seems  to  be  a  growing  movement  toward  the 
closer  alliance  of  art  and  trade.  For  some  time  the  Metro- 
politan Museum  of  Art  has  had  a  department  which  co- 
operates with  manufacturers  and  turns  over  to  them  the 
resources  of  the  Museum,  to  stimulate  and  encourage 
better  designs  in  textiles,  furniture,  glassware,  pottery ;  in 
fact,  every  commercial  output  relating  to  applied  design. 

The  first  of  every  year  the  Museum  holds  an  exhibit, 
jointly  with  the  manufacturers,  of  the  products  which,  in 
any  way  have  been  inspired  by  Museum  pieces. 


Courtesy  of  Ferargil  Gallery 


SPEED 
By  Harriet  Frishmuth 


Working  along  similar  lines  is  the  Art  Center,  whose 
avowed  purpose  is  by  "general  educational  propaganda  to 
foster  and  protect  the  artistic  interests  of  our  common- 
wealth thru  the  application  of  the  arts  of  design  to  the 
every-day  life  of  our  people,  and  to  advance  the  decorative 
crafts  and  industries  that  are  allied  to  the  home  and  the 
problems  that  are  associated  with  the  making  of  orna- 
mental objects  of  every  kind." 

The  Art  Center,  whose  president  is  Helen  Sargent 
Hitchcock,  includes  seven  organizations  composed  of 
people  in  different  lines  of  artistic  endeavor  but  all  work- 
ing toward  the  same  end,  which  is  the  application  of  art 
to  industry. 

The  Art  Alliance  of  America,  of  which  the  Hon.  Henry 
White  is  president,  tries  to  promote  cooperation  between 

artists,  art  stu- 
dents, artisans, 
publishers, 
manufacturers, 
advertisers  and 
others  who  are 
engaged  in  ar- 
tistic activities. 
The  Art  Di- 
rectors Club, 
Joseph  Hawley 
Chapin,  Presi- 
dent, defines  its 
status  in  such  a 
dignified  way : 
"it  is  to  advise 
commerce  in 
the  use  of  art 
and  to  interpret 
for  art  the  re- 
quirements of 
commerce."  If 
that  statement 
was  written  by 
an  art  director, 
he  used  admir- 
able restraint, 
for  the  lot  of 
the  art  director 
is  hard,  he  is 
the  bumper, 
the  mediator, 
the  go-Detween,  who  calms  down  the  artist  when  his 
preliminary  sketches  are  returned  and  skilfully  persuades 
the  manufacturer  that  it  is  better  to  have  something 
artistic,  even  if  photographic  fidelity  is  sacrificed  a  little. 
The  American  Institute  of  Graphic  Arts,  Walter  Gillis, 
Honorary  President,  Frederic  W.  Goudy,  President,  aims 
not  only  to  stimulate  and  encourage  those  engaged  in 
graphic  arts  but  also  endeavors  to  have  America  repre- 
sented in  foreign  exhibits  as  well  as  inviting  foreign 
exhibits  to  this  country. 

The  New  York  Society  of  Craftsmen,  Charles  E.  Pellew, 
President,  is  trying  to  develop  the  spirit  of  craftsmanship 
and  produce  by  hand  rather  than  by  mechanical  means. 
The  Pictorial  Photographers  of  America,  Dr.  A.  D. 
Chaffee,  President,  desire  to  raise  the  standards  of 
photography  in  the  United  States  by  forming  centers 
where  photographs  may  be  on  view  and  enlisting  the  aid 
of  museums  and  public  libraries. 

The    Society    of    Illustrators,    Charles    Dana    Gibson, 
Honorary    President,    Edward    Penfield,    President,    has 
(Continued  on  page  73) 


Photo  by  Nickolas  Muray 


Page  Sixty-One 


a 


An  Underground  Guide  to  Manhattan 


You  wont  miss  your  station  during  the  sub- 
way rush  from  the  Battery  to  Central  Park 
if  you  watch  for  the  living  signboards 

Sketches  by  Esther  Andrews 


WALL  STREET 
Enter  the  caned  and 
spatted  T.B.M.,  worry- 
ing  how  to  turn  one 
dollar  into  one  thou- 
sand; the  alert  A.B., 
wondering  how  to  turn 
one  college  degree  in- 
to one  dollar;  the  in- 
solent little  A.D.T., 
who  can  tell  them 
both  just  how  to  do  it 


SHERIDAN  SQUARE 
Greenwich  Village  is  now  overhead,  for  soulful 
Sonia  and  Igor  the  Russian  enter,  who  need  only 
plenty  of  money  and  leisure  to  persuade  the 
world  that  they  are  geniuses.  Elsie,  the  artist's 
model,  is  not  so  ambitious;  she  merely  wants  to 
persuade  one  young  man  that  she  would  be  a 
model  wife 


TIMES  SQUARE 
Prepare  for  the  matinee  crowd,  of 
which  the  most  conspicuous  mem- 
bers are  from  upstate.  These,  hav- 
ing patterned  their  clothes  and 
their  manners  after  Society-as-it-is- 
Screened,  are  certain  they  pass  for 
natives  of  Broadway.  But  they 
deceive   none   except   themselves 


THIRTY-FOURTH  STREET 
Exit  the  Long  Island  commuters  and  enter 
the  devotees  of  the  beaches.  After  a  day  of 
sun  and  sand  and  salt  water,  tempers  are 
burning  as  well  as  faces  and  arms.  Phronsie 
the  Flapper  is  present  in  body  only — her 
spirit  is  communing  with  "that  puffickly 
grand  life-saver!" 


FOURTEENTH  STREET 
You  are  rolling  under  the  shopping 
district  of  New  York's  hoi  polloi. 
Mrs.  Capek  enters,  busy  with  baby 
and  bundles,  but  stops  to  give  the 
pompous  Mrs.  Morowitch  the  Rou- 
manian equivalent  for  "Quit  yer 
shovin'!"  Mrs.  Snitovski,  a  recent 
arrival  from  Ellis  Island,  under- 
stands  the   situation   tho   she   cant 

understand  the  language 


I 

V 


"W  k. 


COLUMBUS  CIRCLE 
The  Central  Park  West 
Bridge  Clubs  are  closed  for 
the  day  and  the  most  preten- 
tious but  least  prosperous 
members  enter,  attempting 
to  turn  the  subway  into  a 
snubway,  and  trying  to  regis- 
ter the  fiction  that  the  chauf- 
feur has  inconsiderately 
failed  to  meet  them  with  the 
town  car 


Page  Sixty-Two 


Wanderings 

By 

The  Man  About  Town 


OPERA  made  an  auspicious  reentry  in  New  York 
when  the  San  Carlo  Company  opened  its  usual 
fall  season  at  the  Century  Theater.  The  whilom 
Thespian  temple  of  Gotham  millionaires  affords  a  hand- 
some milieu  for  grand  opera,  and  Fortune  Gallo  did  things 
in  good  style  with  the  initial  performance  of  that  spec- 
tacular work  Aida.  The  popular  impresario  is  a  specialist 
in  this  particular  opera,  for  did  he  not  give  it  a  wonderful 
open-air  performance  at  Sheepshead  Bay  some  four  years 
ago,  in  which  a  thousand  people  or  so,  not  to  mention 
camels,  elephants  and  horses,  participated? 


Altho  the  Century  cannot  boast  of  foyers  and  vesti- 
bules as  spacious  as  those  of  the  Metropolitan  and  Man- 
hattan opera  houses,  the  house  presented  an  animated 
spectacle  between  acts,  and  the  audience  was  large  and 
representative.  It  was  pleasant  to  meet  and  greet  musical 
and  journalistic  friends,  some  of  them  just  back  from 
Europe,  where  they  had  been  to  spy  out  the  nakedness  of 
the  land  and  virtually  live  on  the  exchange,  for  the  dollar 
was  never  so  almighty  as  it  is  today.  Others  had  returned 
from  seasid'e,*'mountain  and  lake,  bronzed  and  radiant  and 
full  of  plans  for  the  season  just  commenced. 


The  opulent  charms 
of  Margarete  Matze- 
nauer,  the  eminent  con- 
tralto of  the  Metropoli- 
tan, were  much  in  evi- 
dence, emphasized  as 
they  were  by  a  regal 
ermine  cloak,  which, 
however,  seemed  some- 
what superfluous  with 
the  thermometer  well 
above  eighty  degrees. 
Maybe  she  felt  a  little 
chilly  after  her  recent 
marital  misadventure, 
for  the  flames  of  love 
must  have  been  com- 
pletely extinguished  by 
the  abrupt  ending  of 
her  marriage  of  incon- 
venience. 


Commissioner  En- 
right  was  present  with 
a  party  of  delegates  to 
the  International  Police 
Conference  to  see  that 
the  rather  stuffy  execu- 
tion of  Aida  and  Rha- 
dames  was  carried  out 
with  due  formality. 
Beautiful  Mrs.  Foun- 
tain, with  the  Irish 
eyes,  escorted  by  that 
preux  chevalier  Leon- 
ard Liebling,  attracted 
general   notice,   and 


Photo  by  Rabinovitch 

HORACE  B.  LIVERIGHT 
He  has  to  his  credit  as  publisher  the  discovery  of  Hendrik  Van  Loon  and 
Rose  Macaulay,  and  the  Modern  Library  will  be  his  lasting  monument 


there  were  several  artistic  and  literary  celebrities,  as  well 
as  musical  folk  of  more  or  less  prominence.  But  Society 
with  a  capital  S  had  not  got  back  to  town,  and  with 
the  exception  of  the  journalists  and  some  others  there 
were  few  whom  one  recognized. 


Not  even  all  the  critics  were  at  the  San  Carlo.  Of 
course  the  aristocratic  Aldrich,  who  condescends  to  write 
the  musical  reviews  for  the  Times,  would  not  be  seen 
at  an  operatic  performance  before  the  opening  of  the 
Metropolitan.  But  genial  Billy  Chase  was  an  excellent 
substitute,  and  was  true  to  the  best  sartorial  traditions 
of  his  newspaper.  By  the  way,  how  angry  Aldrich  must 
have  been  at  the  typographical  mess  that  was  made  of  his 
first  telegraphed  report  of  the  Pittsfield  chamber  music 
festival.  The  Times  is,  without  doubt,  the  best  written 
and  the  worst  "read"  paper  in  the  country. 


There  was  a  complaining  note  in  Willy  Henderson's 
voice,  as  if  he  did  not  regard  the  commencement  of  an- 
other seven  months'  musical  grind  with  unmitigated 
pleasure.     Krehbiel  had  sent  tall  and  handsome  Katherine 

Wright  in  his  place, 
and  she  must  have 
found  the  tiny  room  al- 
lotted by  the  Shuberts 
to  the  press  rather  un- 
suited  to  the  unrestrict- 
ed movement  to  which 
she  is  partial.  But,  she 
puffed  her  cigaret  with 
obvious  enjoyment 
while  she  rattled  out 
her  notice  on  one  of  the 
two  machines  provided 
by  a  frugal  manage- 
ment. 


Gilbert  Gabriel,  hav- 
ing discovered  and  ex- 
plored Italy  the  year 
previously,  has  since 
written  and  published 
a  clever  and  sensitively 
written  novel  entitled 
Jiminy.  It  was  rumored 
that  he  was  abandoning 
musical  criticism  for  a 
different  literary  field. 
That,  I  venture  to 
think,  would  be  regret- 
table, for  he  is  one  of 
the  few  younger  writ- 
ers on  musical  matters 
with  a  style  which  sug- 
gests that  he  may  as- 
sume the  mantle  of  that 
great  weaver  of  words, 
James  Huneker.  Hav- 
ing mastered  his  style, 
{Continued  on  page  77) 


Page  Sixty-Three 


SuADOWLAND 


The  Convenience  of  the  Novel 


{Continued   from   page    35) 


not  only  cripples  the  minds  and  mottles  the 
characters  of  people,  but  gives  them  a  weapon 
wherewith  to  cripple  or  harass  the  free  and 
superior  spirits  of  intelligence  and  imagina- 
tion. 

Gargoyles  is,  in  brief,  the  story  of  the  rise 
of  a  successful  politician,  and  of  his  intimates, 
friends  and  associates.  George  Basine  is  at 
once  the  product  and  the  victim  of  Puritanism 
in  an  industrial  democracy.  He  has  all  the 
catchwords  of  conduct  and  success ;  he  has  a 
moderate  degree  of  intelligence  and  a  great 
deal  of  acumen ;  he  is  at  once  a  skeptic  and 
a  credulous  man,  knowing  himself  for  a  sin- 
ner, according  to  his  code  and  believing  all 
the  cant  of  his  day ;  he  is  in  the  beginning 
a  healthy  animal  able  "to  stare  his  conscience 
out  of  countenance,"  and  in  the  end  a  mental 
and  moral  moron  thru  the  attrition  of  the  con- 
stant pressure  of  platitudes — but  a  famous  man, 
with  a  senatorship  in  sight,  money  in  the  bank, 
and  the  admiration  and  respect  of  other  mental 
deficients  who  see  in  this  pompous  and  absurd 
ass  the  embodiment  of  their  own  ideals  and 
ambitions. 

There  is  in  Gargoyles  no  elaborate  delinea- 
tion of  character :  there  is  the  sure  and 
pertinent  observation  in  a  sentence  or  a  para- 
graph which  illuminates  what  we  need  to  know 
about  a  figure  in  a  fine  flash  which  another 
novelist  might  use  a  chapter  in  explaining — and 
fail  to  explain.  There  is  insight  and  analysis 
in  swift,  clean  strokes.  There  is  beauty,  too, 
in  the  searing  acidity  of  these  pages ;  for  there 
is  the  beauty  inherent  in  the  tragedy  of  a  man 
in  conflict  with  himself  (as  in  the  episode  of 
Lindstrum,  the  poet)  and  in  the  tragedy  of  a 
frustrated  passion  that  is  nobly  centralized  and 
nobly  borne  (as  in  the  episode  of  Doris'  love 
for  Lindstrum)  and,  finally,  there  is  beauty  of 
a  quivering,  poignant  kind  even  in  the  strained 
hatred  and  malice  of  the  book,  for  it  is  the 
hatred  and  malice  of  a  sensitive  and  intelli- 
gent man  in  reaction  to  the  miseries  men  make 
for  themselves  and   for  others. 

It  is  my  belief  that  Mr.  Hecht  is  a  generously 
endowed  writer  among  the  post-war  genera- 
tion of  American  novelists.  His  influences 
have  been  largely  Continental ;  he  stems  from 
Dostoievsky,  Flaubert,  Nietzsche  and  Huys- 
mans  rather  than  from  English  and  American 
models,  with  one  exception,  Stephen  Crane, 
for  there  are  obvious  traces  of  Crane's  in- 
fluence in  Hecht's  work.  It  will  be  seen, 
from  this,  that  Hecht's  intuitive  sympathies 
with  great  artists  of  the  realistico-psychologi- 
cal  tradition  in  Europe  and  with  perhaps  our 
one  great  realist  in  America  augur  well  for 
the  sort  of  intellectual  equipment  he  brings  to 
the  business  of  novel  writing  in  America.  He 
has  given  evidence  of  a  vast,  restless  and 
seemingly  inexhaustible  energy,  producing 
within  a  single  year  two  novels  and  two  plays, 
and  at  the  same  time  writing  two  columns 
every  day  for  a  newspaper.  If  his  novels  were 
the  ordinary,  commercial  stereotypes,  this 
would  not  seem  more  than  the  natural  result  of 
a  conscientious  industry,  but  they  have  in  them 
so  much  that  is  genuinely  distinctive,  so  def- 
initely an  intelligent  attitude,  and  so  valuable 
a  gift  for  imagery,  that  this  overflow  of  pro- 
ductiveness is  so  amazing  the  fear  arises  that 
he  may  write  himself  out  before  he  has  achieved 
the  poise  and  restraint  that  is  yet  necessary 
to  give  his  work  the  final  touch  of  greatness. 
Certainly  he  has  most  of  the  elements   which 


qualify  for  that  tribute  and,  in  retrospect,  it 
seems  that  he  lacks  them  only  because  of  the 
mendable  defects  of  haste  and  carelessness. 
And  a  competent  proofreader  could  help  him 
a  lot  in  those  defects. 

John  Cournos  slipped  quietly  enough  into 
the  literary  scene  a  few  years  ago  with  two 
novels    of    considerable    distinction.      He    was 


Recommended  Books 

Fiction 

The  Judge,  by  Rebecca  West.    Doran. 

Babel,   by   John    Cournos.     Liveright. 

Against  the  Grain,  by  J.   K.  Huysmans.    Lieber 

&  Lewis. 
Germinie   Lacerteaux,   by   Edmond   and  Jules  de 

Goncourt.     Knopf. 
The   Cathedral,   by   Hugh  Walpole.     Doran. 
The    Bright    Shawl,    by    Joseph    Hergesheimer. 

Knopf. 
Lilian,  by  Arnold   Bennett.     Doran. 
A    Tale    of    Triona,    by    W.    J.    Locke.      Dodd, 

Mead. 
The    Unlit    Lamp,    by    Elisabeth    Sanxay    Hold- 
ing.    Dutton. 
Rough   Hewn,   by   Dorothy  Canfield.     Harcourt. 
Peregrine's  Progress,  by  Jeffrey  Farnol.    Little, 

Brown. 
Skippy     Bedelle,     by     Owen     Johnson.       Little, 

Brown. 
Anne    Severn   and   the    Fieldings,    by    May    Sin- 
clair.      Macmillan. 
The  Wind   Bloweth,  by  Donn   Byrne.     Century. 
Down  the  River,  by  Roscoe  W.   Brink.    Holt. 
Swann's  Way,  by   Marcel  Prevost.     Holt. 
Some      Distinguished     Americans,     by      Harvey 

O'Higgins.      Harper. 
Two  Little  Misogynists,  by  Carl  Spitteler.  Holt 
Rita    Coventry,    by    Julian    Street.       Doubleday 

Page. 
Love  and  Freindship,   by  Jane   Austen.     Stokes 
Rootabaga     Stories,    by    Carl     Sandburg.      Har 

court. 
The  Mercy  of  Allah,  by  Hilaire  Belloc.     Apple 

ton. 

Non-Fiction 
Tramping  on  Life,  by  Harry  Kemp.    Liveright 
The   Second  Empire,   by   Philip   Guedalla.      Put 

nam. 

Letters    of   James    Gibbons    Huneker.      Scribner. 
My    Life    and    Some    Letters,    by    Mrs.    Patrick 

Campbell.     Dodd,    Mead. 
Beasts,    Men    and    Gods,    by    Ferdinand    Ossen 

dowski.     Dutton. 
Rossetti    and    His    Circle,    by    Max    Beerbohm 

Doubleday,    Page. 
The  Conquest  of  New  Granada,  by  R.   B.   Cun 

ninghame-Graham.     Houghton,   Mifflin  Co. 
Love    Conquers    All,    by    Robert    C.     Benchley 

Holt. 
Ocean  Echoes,  by  Arthur  Mason.     Holt. 
Stage   Folk,   by   Afred   Frueh.     Lieber   &  Lewis 
American  Poetry,  an  Anthology.    Harcourt. 
Admirals  of  the  Caribbean,  by  Francis  R.  Hart 

Houghton,    Mifflin. 
Preludes     and      Symphonies,     by     John     Gould 

Fletcher.     Houghton,   Mifflin. 
Shouts   and  Murmurs,   by   Alexander   Woollcott. 

Century. 


scarcely  noticed  at  the  time  and  the  reason  was 
not  far  to  seek:  the  then  younger  Englishmen, 
Compton  Mackenzie,  J.  D.  Beresford,  D.  H. 
Lawrence,  Hugh  Walpole  and  Gilbert  Cannan 
were  attracting  attention  with  a  similar  act — 
the  autobiographical  novel.  American  readers 
were,  at  the  time,  buying  third-rate  English 
books    in   preference    to    second-rate    American 


books  on  the  legitimate-enough  ground  that 
English  novelists  were  more  competent  in  the 
sheer  knack  of  story-telling  than  our  native 
writers  and  on  the  illegitimate  theory  that 
English  literature  is  invariably  superior  to 
American  literature.  Cournos  had  the  mis- 
fortune to  hail  from  Philadelphia  and,  in  con- 
sequence, was  not  taken  seriously  even  by 
Philadelphians.  Moreover,  Gilbert  Cannan 
had,  in  Mendel,  handled  the  same  theme  (the 
conflict  of  a  neurotic  and  artistic  Jew  with  his 
environment  on  which  Mr.  Cournos  engaged 
his  talents  in  The  Mask  and  The  Wall  and  did 
so  sound  a  job  of  it  that  it  rather,  for  the 
moment,  overshadowed  Mr.  Cournos'  achieve- 
ment, if  for  no  other  reason  than  by  anticipat- 
ing it. 

Mr.  Cournos  has  now  come  forward  with  the 
third  volume  of  his  trilogy,  Babel.  There  is  a 
continuity  in  the  three  books,  and  there  is  one 
central  character,  Gombarov,  for  them  all ;  but 
Babel  (as  have  the  others)  has  a  separate  life 
and  unity  and  may  be  read  as  an  isolated  book. 
There  is  no  reason,  indeed,  why  Mr.  Cournos 
should  not  go  on  writing  novels  of  himself  in 
contact  with  life  every  time  he  finds  he  has  had 
enough  interesting  experiences  to  fill  a  book, 
and  so  continue  until  his  death,  thereby  giving 
us  the  first  complete  autobiographical  novel  in 
literary  history.  Certainly  I  shall  look  forward 
to  the  successor  of  Babel  with  even  greater 
eagerness  than  I  did  to  Babel.  This  new  book 
is  so  honest,  so  frank  and  so  serious  a  record 
of  things  seen  and  heard  and  experienced  that 
it  is  a  valuable  document  in  the  social  history 
of  the  period  no  less  than  an  entertaining  and 
interesting  novel.  If  we  had  a  novel  in  kind  of 
early  Athenian,  Roman  and  Florentine  life,  it 
would  be  priceless  as  information  whereof 
scholars  may  now  only  conjecture. 

Mr.  Cournos,  it  appears,  lifted  himself  up 
from  the  Ghetto  by  the  bootstraps  of  his  mind 
and  temperament,  became  a  newspaper  reporter, 
developed  a  smooth  and  cadenced  prose  and  a 
narrative  gift  by  arduous  practice  and  went  to 
New  York  and  thence  to  London  and  Paris, 
seeking  always  the  company  of  writers  and 
painters  under  the  somewhat  erroneous  impres- 
sion that  they  would  provide  him  with  the 
stimulus  to  great  artistic  achievement.  They 
did  not,  they  could  not,  and  Mr.  Cournos'  novel 
is  ponderable  evidence  that  they  can  not,  for 
the  very  reason  that  the  stimulus  to  great 
artistic  achievement  must  come  from  within 
and  not  from  without.  But  they  did  provide  in 
considerable  measure  the  high  points  of  in- 
terest in  Mr.  Cournos'  narrative.  And  thus  as 
a  representational  document  Babel  is  in  the  first 
rank  of  the  novels  of  its  kind. 

I  should  be  the  last  to  grant  that  the  re- 
portorial  novel,  no  matter  how  minutely  and 
beautifully  it  is  recorded,  may  rank  with  the 
great  projections  of  the  imagination;  but  I 
should  say  that  it  has  its  significance  and  im- 
portance and  that  it  may,  as  in  the  case  of 
Babel,  be  a  vehicle  of  great  dramatic  beauty  and 
power.  The  love  story  in  Babel  is  a  febrile  but 
poignant  drama  of  desire  and  defect.  Gom- 
barov's  elaborate  self-justifications,  his  petu- 
lant demands  and  easy  but  impermanent 
solace,  and  his  lacerated  emotions  would  be 
comic  if  they  were  set  down  with  such  in- 
tensity and  veracity  that  we  are  reminded  that 
this  is  not  literature  but  life  and  that  the  very 
comic  aspect  of  life  has  its  inescapable,  in- 
(Continued  on  page  68) 


Page  Sixty-Four 


Photo  by  Albin 


BETTY  BLYTHE 

Motion  picture  enthusiasts  will  soon  have 
en  opportunity  to  see  this  popular  actress 
in  a  new  play,  "The  Darling  of  the  Rich" 


Page  Sixty-Five 


SuABOWlANB 


Stage  Plays  of  Interest 


Drama — Major  and  Melo- 


The  Cat  and  the  Canary.  National. — Good 
excitement  and   suspense. 

East  of  Suez.  Eltingc. — Florence  Reed  as  a 
beautiful,  tragic  half-caste. 

The  Faithful  Heart.  Broadhurst.— Teach- 
ing us  how  we  may  still  "Carry  On." 

The  Last  Warning.  Klaw. — A  mystery  that 
keeps  one  thrilling  and  guessing. 

Loyalties.  Gaiety. — An  engrossing  Gals- 
worthy play,  brilliantly  acted. 

The    Monster.     Thirty-Ninth    St.— Emmett 


Corrigan  as  the  villain  in  a  gruesome  and 
horrifying  play. 

Rose  Bernd.  Longacre. — Ethel  Barrymore 
does  some  fine  work  in  an  obscure  and  difficult 
drama. 

R.  U.  R.  Garrick. — A  social  satire  done  in 
terms  of  the  most  hair-raising  melodrama. 

To  Love.  Bijou. — Grace  George  is  the  star. 
Review  later. 

Whispering  Wires.  Forty-Ninth  St. — A 
headliner  among  mystery  melodramas. 


Humor  and  Human  Interest 


Abie's  Irish  Rose.  Republic. — The  audience 
is  as  amusing  as  the  play. 

The  Awful  Truth.  Henry  Miller.— Ina 
Claire  learns  that  the  truth  is  an  awful  thing 
to  have  in  the  house. 

Banco.  Rite. — The  bubbling  Lola  Fisher  in 
another  Kummer  comedy. 

Captain  Applejack.  Cort.  —  Excellent 
pirates-and -hidden-treasure  burlesque 

East  Side,  West  Side.  Nora  Bayes. — 
Norman  Trevor  in  a  too-conventional  play. 

The  Ever  Green  Lady.  Punch  &  Judy. — 
The  champion  of  the  light-weight  comedies. 

The  Exciters.  Times  Square. — Drury  Lane 
melodrama.     You  get  your  money's  worth. 

Her  Temporary  Husband.  Frazee.  — 
Amusing  and  safe.  About  women  for 
women. 

It's  a  Boy.  Harris. — Another  lesson  for 
those  who   live  beyond  their   income. 

Kempy.  Belmont. — A  very  human  small- 
town domestic  comedy. 


Kiki.  Belasco. — Lenore  Ulric  plays  the 
piquant  cocotte.     Excellent. 

La  Tendresse.  Empire. — Henry  Miller  as 
the  wistful  old  husband  and  Ruth  Chatterton 
as  the  spirited  young  wife. 

Malvaloca.  Forty-Eighth  St. — An  old- 
fashioned,   sentimental,   tear-drenched   romance. 

The  Old  Soak.  Plymouth.— -If  you  liked 
Lightnin'  you'll   like  this. 

Shore  Leave.  Lyceum. — Frances  Starr  as 
a  country  dressmaker  and  James  Rennie  as  a  gob. 

So  This  Is  London!  Hudson. — Makes  a  hit 
with  those  who  like  English  comedy. 

Spite  Corner.  Little. — A  pleasing  homespun 
comedy  with  a  skimpy  plot. 

Swifty.     Playhouse. — Review  later. 

Thin  Ice.  Comedy. — Worth  while  if  you 
enjoy  listening  to  clever  lines. 

The  Torch  Bearers.  Vanderbilt. — A  smart 
satire  on  the  Little  Theater  movement. 

Why  Men  Leave  Home.  Morosco. — A 
comedy  with  an  obvious  moral. 


Melody  and  Maidens 


Better  Times.  Hippodrome. — Large,  costly, 
naive  and  pretty. 

Blossom  Time.  Fifty-Ninth  St. — Franz 
Schubert's  life  set  to  his  own  music. 

The  Chauve-Souris.  Century  Roof. — Third 
program  of  Balieff's  Russian  entertainers. 
Good. 

Daffy  Dill.  Apollo. — Frank  Tinney  as 
funny  as  ever. 

A  Fantastic  Fricassee.  Greenwich  Village. 
— All  that  the  name  implies. 

The  Gingham  Girl.  Earl  Carroll. — Both 
old  and  young  will  like  this. 

Greenwich  Village  Follies.  Shubert.  — 
beautiful  spectacle,  with  Savoy  and  Brennan  to 
provide  the  touch  of  humor. 

Hitchy  Koo  of  1922.  Century. — Review 
later. 

The  Lady  in  Ermine.  Ambassador. — A 
musical  show  that  is  something  more  than 
vaudeville. 


Molly  Darling.  Liberty. — Snappy,  tuneful 
and  clean. 

The  Music  Box  Revue.  Music  Box. — Very 
easy  to  look  at  and  listen  to. 

Orange  Blossoms.  Fulton. — Dancing  and 
music  and  dialog  equally  good.     Dont  miss  it. 

The  Passing  Show  of  1922.  Winter  Garden. 
— A  succession  of  dances,  parodies  and  songs. 

The  Queen  O'  Hearts.  Cohan. — Nora 
Bayes  in  a  musical  mixture  of  pleasing  in- 
gredients. 

Revue  Russe.  Booth. — Vaudeville  a  la 
Chauve-Souris. 

Sally,  Irene  and  Mary.  Casino. — An  im- 
pudent show  of  New  York-Irish  manners. 

Scandals  of  1922.  Globe. — Another  hand 
for  George  White,  please. 

The  Yankee  Princess.  Knickerbocker. — 
A  miniature  grand  opera.     Real  music. 

The  Ziegfeld  Follies.  New  Amsterdam. — 
Amusing,  dazzling  and  distracting. 


The  Best  in  the  West 

A  list  of  last  year's  successes  now  07i  tour 


Anna  Christie.  Eugene  O'Neill  at  his  best. 
Worth  seeing. 

A  Bill  of  Divorcement.  A  serious  drama. 
Well  acted. 

Bombo.     Good  music  and  new  jokes. 

Bulldog  Drummond.  A  mystery  play 
everyone  will  like. 

The  Circle.  An  excellent  comedy  with  an 
all-star  cast. 

The  Demi  Virgin.  An  underdone,  undressed 
farce. 

Dulcy.  Demonstrating  that  beauty  triumphs 
over  brains. 

Fools  Errant.  Thrilling  situations  and  ex- 
cellent dialog. 

The  Gold  Diggers.  A  snappy,  colorful 
comedy. 


Good  Morning,  Dearie.  Excellent  musical 
entertainment. 

The  Hairy  Ape.  The  tragedy  of  a  stoker. 
Good. 

The  Hotel  Mouse.  Frances  White  and 
Taylor  Holmes  in  a  light  mystery  play. 

Lawful  Larceny.   A  crook  melodrama.   Fair. 

Make  it  Snappy.  Eddie  Cantor  is  the  whole 
show. 

Nice  People.    A  comedy  of  manners. 

The  Passing  Show  of  1921.  Smart  and 
satisfying. 

Red  Pepper.  A  typical  Mclntyre  and 
Heath  entertainment. 

Six  Cylinder  Love.  A  domestic  comedy 
with  a  moral. 

The  White  Peacock.  Written  and  starred 
by   Petrova. 


The  Cad  As  Hero 

(Continued  from  page  48) 

very  notable.  In  that  respect  it  resembles  all 
the  rest  of  the  dull  and  wordy  play  by  Bataille 
in  which  Henry  Miller  and  Ruth  Chatterton 
are  appearing.  Miller  plays  a  dramatist  of 
reputed  distinction  and  some  sixty-odd  years, 
who  is  so  absorbed  in  his  own  importance  that 
he  cant  see  that  his  thirty-year-old  mistress 
must  be  pardoned  for  finding  elsewhere  the  out- 
let for  a  physical  life  which  he  can  no  longer 
give  her.  It  takes  the  whole  pack  of  pathetic 
last-act  tricks — Christmas,  little  children,  a  cold 
in  the  head,  loneliness — to  bring  the  gentleman 
round.  And  the  best  he  can  do  in  the  end  is  to 
preach  about  the  higher  love  of  "tenderness." 

Neither  .Miller  nor  Miss  Chatterton  succeeds 
in  doing  much  to  alleviate  the  play.  Miller  is 
old  enough  to  give  the  part  reality,  but  not 
young  enough  to  give  it  emotional  vigor.  Miss 
Chatterton  brings  only  immaturity  and  a  black 
wig  to  the  role  of  the  mistress. 

The  cad  is,  of  course,  a  capital  figure  for 
comedy.  The  man  from  God's  own  country 
(Oklahoma,  Arthur  Richman  tells  us  in  The 
Awful  Truth,  not  California),  who  questions 
his  fiancee's  first  husband  to  find  out  how  good 
her  morals  were,  is  a  splendid,  refulgent  cad, 
and  makes  good  sport.  So  is  the  first  husband ; 
for  in  the  process  of  becoming  the  second  hus- 
band he  indulges  in  just  the  same  sort  of  moral 
inquiry.  There  is  nothing  particularly  robust 
in  the  plot,  but  the  lines  are  often  very  clever 
and  always  intelligent.  As  the  pent-up  and 
boiling-over  first  husband,  Bruce  McRae  plays 
a  perfect  Bruce  McRae  part  perfectly.  He 
leaves  Ina  Claire  and  her  charms  far  behind. 

Another  sort  of  cad,  a  mechanical  cad,  ap- 
pears in  Banco,  a  farce-comedy  adapted  by 
Clare  Kummer — and  very  well  and  honestly 
adapted  from  the  risque  French  of  the  man 
who  wrote  Bluebeard's  Eighth  Wife.  Here 
again,  a  divorced  husband  manages  to  achieve 
what  the  English  courts  call  the  "restitution  of 
conjugal  rights."  In  doing  so  he  has  to  out- 
rage the  hospitality  of  her  second  husband — 
and  on  the  newly-weds'  wedding  night.  This 
breach  of  good  manners  is  hardly  of  any  im- 
portance, of  course,  in  a  play  whose  characters 
are  arbitrarily  twisted  and  dehumanized  to  suit 
a  preconceived  "situation."  Because  it  is  a  play 
of  contrivances  instead  of  natural  action,  it  is 
least  interesting  in  the  first  two  acts,  when 
these  contrivances  are  being  oiled  up.  The  de- 
humanized husband  is  played  in  Punchlike  vein 
by  Alfred  Lunt;  the  wife  much  too  seriously 
by  Lola  Fisher,  and  the  second  husband  de- 
liciously  by  Francis   Byrne. 

Down  in  the  field  of  ordinary  popular  drama, 
we  strike  the  drunken  but  still  loving  husband 
of  Percival  Knight's  Thin  Ice,  who  must  be  a 
cad  if  there  are  going  to  be  any  difficulties  for 
his  old  army- friend  to  straighten  out  when  he 
comes  to  work  as  butler ;  and  in  The  Endless 
Chain,  by  James  Forbes,  and  It's  a  Boy,  by 
William  Anthony  McQuire,  we  come  upon  the 
most  dreadful  pest  of  all — the  young  business 
man  on  the  make.  In  both  plays  he  is  sur- 
rounded with  just  the  sort  of  wife  and  friends 
he  might  be  expected  to  pick:  selfish,  feather- 
brained wife,  and  vulgar,  ill-educated,  money- 
grabbing  friends.  And  in  both  plays  we  are 
expected  to  take  an  interest  in  whether  or  not 
he  make's  money  and  keeps  his  wife's  love.  In 
It's  a  Boy,  the  young  gentleman  goes  thru  the 
same  plot  as  in  the  author's  previous  play,  Six 
Cylinder  Love,  and  in  the  same  successful 
fashion.  The  Endless  Chain  is  too  thin  of 
plot  and  too  thick  of  preachment  to  divert  the 
masses.  Thus  the  American  Magazine,  drama- 
tized for  Broadway,  both  succeeds  and  fails. 

Of  the  remaining  productions  of  the  month 
of  September,  two  sets  group  themselves  in 
convenient  categories.  In  The  Exciters,  by 
Martin  Brown,  an  excellent  example  of  popular, 
legitimate  farce-melodrama,  art  assiduously 
copies  life:  the  etiquette  book  and  "What's 
wrong  with  the  picture?"  crop  out  for  the  third 
time  this  season.  In  Orange  Blossoms,  on  the 
other  hand,  nature  copies  art,  as  Oscar  Wilde 
said  it  would:  Neysa  McMein's  high-cheeked 
and  flaming  brunette  on  the  magazine  covers 
produces  the  charming  star,  Edith  Day,  to 
animate  the  well-bred  ingenuities  of  Edward 
Royce  and  Victor  Herbert. 


Page  Sixty-Six 


SuiADOWLAND 


— In  forty  minutes,  wiped  away,  the  clay 
has  forced  the  clarity  and  color  of  youth 
to  any  human  skin  on  which  it  is  applied. 
A  new  triumph  of  dermatology. 


"Father  was  amazed  at  the  great  change" 


This  Astounding  Beauty  Clay  Makes 

aNew  Skin  in  40  Minutes ! 


Here  Is  the  Qreatest  "News  About  Complexion  Ever  Brought  to  America.  Even 
the  Dullest  Skin  Yields  to  the  Simple  But  Wonderful  "Method  Used  Abroad. 


By  MARTHA  RYERSON 

I  AM  going  to  tell  you  how  a  pleasure  trip  to  Sunny 
Wales  resulted  in  learning  a  real  beauty  secret.  It 
is  a  secret  of  Mother  Earth's:  a  natural,  normal 
and  gloriously  swift  way  to  end  forever  an  unlovely 
complexion.  I  went  to  Wales  with  the  worst  skin  a  girl 
could  have;  one  afternoon  I  left  it  in  the  hills!  I  ex- 
changed it  for  one  of  soft  texture  and  full  of  color. 
And  this  is  how: 

Except  that  I  can  now  let  you  prove  it  for  yourself, 
I  would  never  tell  the  story—  a  story  my  own  father 
found  it  hard  to  believe! 

Hardest  of  all  to  believe  is  this  ;  the  transformation 
took  just  forty  minutes!  Here  are  the  facts: 

About  the  first  thing  one  notices  in  this  southern 
English  province  is  the  uniformly  beautiful  complex- 
ions. The  lowliest  maid  — and  her  mother,  too  — has  a 
radiantly  beautiful  skin.  Mine,  lacking  lustre  and  color, 
with  impurities  nothing  seemed  to  eradicate  or  even 
hide,  was  horribly  conspicuous. 

It  was  a  happy  thought  that  took  a  most  unhappy 
girl  on  a  long  walk  through  the  hills  one  afternoon.  I 
had  stopped  at  the  apothecary's  to  replenish  my  cos- 
metic—to find  it  was  unknown.  They  did  not  have 
even  a  cold  cream.  The  irony  of  it!  In  a  land  where 
beauty  of  face  was  in  evidence  at  every  turn — the  women 
used  no  beautifiers!  Do  you  wonder  "I  took  to  the 
hills?"  I  didn't  want  to  see  another  peaches-and-creamy 
complexion  that  day.  But  I  did. 

At  a  house  where  I  paused  for  a  drink  from  the 
spring,  I  stepped  back  in  surprise  when  the  young 
woman  straightened  up  to  greet  me.  Her  face  was  cov- 
ered with  mud.  I  recognized  the  peculiar  gray  clay  of 
that  section;  very  fine,  sleek,  smooth  clay  it  was.  See- 
ing my  surprise,  the  girl  smiled  and  said,  "Madam 
does  not  clay?"  I  admitted  I  did  not! 

I  Decide  to  "Clay" 

In  a  moment,  she  wet  the  clay  which  had  dried  on 
her  face  and  neck,  wiped  it  away,  and  stood  in  all  the 
glory  of  a  perfect  complexion.  I  think  I  shall  never 
again  envy  another  as  I  did  that  stolid  maiden  of  the 
hills.  Her  features  were  not  pretty;  they  did  not  need 
to  be.  For  no  woman  ever  will  have  a  more  gorgeous 
skin.  She  explained  that  this  amazing  clay  treatment 
did  it.  The  natives  made  a  weekly  habit  of  "claying" 
the  skin,  quite  as  one  cares  regularly  for  the  hair. 

I  was  easily  persuaded  to  try  it.  Had  I  not  done 
ridiculous  things  in  beauty  parlors  where  many  could 
see  my  plight?  We  tucked  a  towel  over  my  blouse,  and 
from  the  spring's  bed  she  took  the  soft,  soothing  clay 
and  applied  it. 

As  we  sat  and  talked,  the  clay  dried.  Soon  I  experi- 


enced the  most  delightful  tingling  in  every  facial  pore; 
the  impurities  were  being  literally  pulled  out.  Half  an 
hour  more,  and  we  removed  the  clay  mask.  Hopeful, 
but  still  skeptical,  I  followed  into  the  tiny  house  to 
glimpse  myself  in  a  mirror. 

My  blemishes  'were  gone/ 

I  fairly  glowed  with  color  that  spread  down  the  neck 
to  the  shoulders.  My  cheeks  were  so  downy  soft,  I  felt 
them  a  hundred  times  on  the  way  home.  Father's  sur- 
prised look  when  we  met  in  the  garden  of  the  little  inn 
later  that  afternoon  was  the  most  genuine  compliment 
a  woman  ever  received.  In  a  basket  I  had  two  crocks 
of  the  precious  clay.  I  thought  father's  questions  would 
never  end;  where  did  I  find  it;  could  I  take  him  to  the 
spot;  what  was  its  action,  and  reaction,  and  lots  else  I 
didn't  know.  Father  is  a  chemist.  Suddenly  it  dawned 
on  me.  He  wanted  to  unearth  the  secret  of  that  clay's 
amazing  properties,  and  take  it  to  America!  For  two 
weeks  we  stayed  on,  he  worked  all  day  at  his  "mud  pies," 
as  I  called  them.  Back  home  at  last  in  Chicago,  he 
worked  many  weeks  more.  He  experimented  on  me, 
and  on  all  my  girl  friends.  At  last,  using  the  natural 
Welsh  clay  as  a  base,  he  produced  a  compound  as  mi- 
raculous in  its  effect  —  only  ten  times  more  smooth  and 
pure  than  the  clay  used  by  the  peasants  abroad. 

Any  One  May  Now  Have  This 
Wonderful  Clay 

News  of  the  wonders  performed  by  this  clay  had 
brought  thousands  of  requests  for  it.  Women  every- 
where (and  men  too,  by  the  way)  are  now  supplied 
Forty  Minute  Clay.  The  laboratory  where  it  is  com- 
pounded sends  it  direct  to  the  user.  A  jar  is  five  dollars, 
but  I  have  yet  to  hear  of  any  one  who  did  not  regard  it 
as  worth  several  times  that  amount.  For  mind,  in  over 
six  hundred  test  cases,  it  did  not  once  fail.  It  seems  to 
work  on  all  ages,  and  regardless  of  how  pimpled,  clogged 
or  dull  the  skin  maybe. 

The  application  is  readily  made  by  anybody,  and  the 
changes  brought  about  in  less  than  an  hour  will  cause 
open-mouthed  astonishment.  I  know. 

When  I  see  a  woman  now,  with  a  coarse-textured 
skin  that  mars  the  whole  effect  of  her  otherwise  dainty 
care  of  self.it  is  all  I  can  do  to  refrain  from  speaking 
of  this  natural,  perfectly  simple  way  to  bring  a  skin  and 
color  such  as  Nature  meant  us  to  have —  and  has  given 
us  the  way  to  have.  It  is  so  healthful  to  use,  it  cannot 
grow  hair  (in  fact,  its  action  checks  that  undesirable 
downy  growth)  and  it  keeps  pores  their  natural  size 
because  it  is  laid  on  and  not  rubbed  in. 

Keep  your  skin  pores  clean,  open,  tingling  with  life! 
My  father  has  made  you  a  remarkable  offer  in  the  next 
column.  Read  carefully: 


New  Shipments  from  Abroad! 

Free  Distribution 
of  $5.00  Jars  Extended 

To  the  public:  My  first  offer  of  full- 
sized  jars  without  profit  exhausted  my 
small  stock  of  imported  clay.  But  we 
have  just  received  more,  imported  direct 
from  the  British  Isles. 

Therefore,  I  resume  for  a  time  the  offer 
of  a  full  $5  jar  without  any  laboratory 
charge.  You  may  have  one  jar  only  for  the 
bare  cost  of  getting  it  in  your  hands !  The 
expense  of  compounding,  refining,  ana- 
lyzing, sterilizing,  packing  and  shipping 
in  large  quantity  has  been  figured  down 
to  $1.87  per  jar,  plus  postage. 

Even  this  small  sum  of  $1.87  is  not 
really  a  payment— regard  it  as  a  deposit, 
which  we  will  return  at  once  if  you  are 
not  satisfied  this  miracle  clay  is  all  it  is 
claimed  to  be. 

Send  no|money,  please,  but  pay  when 
postman  delivers.  Just  $1.87 plus  postage. 
Or,  if  handier  to  receive  jar  prepaid,  en- 
close $2;  same  guarantee  holds  good 


W>/fy 


Head  Chemht 


THE  CENTURY  CHEMISTS 
Century  Bid.,  Chicago,  Dept.   181 

I  accept  your  "No  Profit"offer.  Please  send 
me  a  full  sized, regular  $5.00  jarof  Forty  Min- 
ute Beauty  Clay  at  the  net  laboratory  cost  price 
of  $1. 87,  plus  postage,  which  I  will  pay  postman 
on  delivery.  My  money  back  unless  only  one 
application  proves  completely  satisfactory. 


Nami 

Addra 

P.O... 


Page  Sixty-Seven 


SuAOOWLAND 


Just  what 

is  Listerine, 

anyhow? 

YOU'LL  be  interested  to  know 
just  why  Listerine  is  so  effi- 
cient and  so  safe  as  an  anti- 
septic —  why    it    has    grown    so 
steadily  in  popularity  for  the  last 
half  century. 

Listerine  consists  of  antiseptic 
oils  and  essences,  such  as  thyme, 
eucalyptus,  baptisia,  gaultheria 
and  mentha,  scientifically  com- 
bined with  a  saturated  solution  of. 
boric  acid. 

Thus  it  has  a  two-fold  antisep- 
tic effect — first,  the  liquid  itself 
halts  infection ;  then  upon  evap- 
oration it  leaves  a  film  of  pure 
boric  acid  to  protect  the  wound 
while  Nature  heals. 

Its  action  is  safe  and  sure.  Don't 
be  without  it  at  home.  For  with  Lis- 
terine near  at  hand  you  enjoy  that 
comfortable  feeling  of  knowing  the 
antiseptic  you  use  is  both  efficient  and 
safe. 

The  booklet  that  comes  with  each 
bottle  explains  more  fully 

some  of  its  many  uses 

A  safe,  unirritating  antiseptic 
for  cuts,  wounds  and  scratches, 
affording  protection  against  in- 
fection while  Nature  heals. 

As  a  gargle  for  sore 

throat  to  ward  off  more 

serious  ills 

As  a  spray  in  nasal  catarrh. 
A  safe  and  fragrant  deodorant 
in  matters  of  personal  hygiene. 
Delightful  after  shaving. 
Effective  in  combating  dandruff. 
Useful  in  many  skin  disorders. 

As  a  mouth-wash  to 

correct  unpleasant  breath 

(halitosis) 

Lambert  Pharmacal  Company 
St.  Louis,  U.  S.  A. 


The  Convenience  of  the  Novel 


(Continued  from  page  64) 


herent  pathos.  As  a  panoramic  picture  of  the 
complexities  and  conflicting  desires,  the  tur- 
moil of  ideas  and  the  restlessness  of  society 
immediately  antecedent  to  the  war  in  the  great 
centers  of  civilization  such  as  Paris,  London, 
and  New  York,  Babel  is  in  my  opinion  a  much 
better  novel  than  the  more  melodramatic  work 
by  Jacob  Wassermann  called  The  World  Illu- 
sion. It  is,  for  one  thing,  more  credible  and, 
for  another,  Gombarov  is  a  live,  pulsating 
human  being  while  Christian  Wahnschaffe  is 
but  a  wraith. 

Jane  Austen's  fame  as  a  novelist,  large  and 
secure  as  it  is,  has  never  been,  I  think,  so 
great  as  it  should  be.  She  was  the  greatest 
social  satirist  of  her  era,  overtopping  Thack- 
eray, I  think,  by  a  considerable  margin ;  and 
she  was  one  of  the  greatest  character  por- 
trayers  in  English  fiction.  There  is  literally 
no  one  who  excels  her  in  the  choice  of  the 
precise  phrase  which  gives  the  whole  lineaments 
of  a  figure  in  marvelous  caricature.  She 
worked  within  narrow  limits  and  concerned 
herself  not  at  all  with  manners,  customs,  con- 
ditions or  events  outside  of  her  immediate 
observation ;  but  in  that  small  field  she  cul- 
tured fiction  which  is  an  enduring  glory  to 
English  literature. 

Now  comes  to  light  a  volume  of  the  early 
manuscripts  of  Miss  Austen,  published  under 
the  title,  Love  and  Freindship.  It  contains  two 
gorgeous  and  bubbling  burlesques  of  the 
romantic  novels  of  Monk  Lewis  and  other 
Ethel  M.  Dells  of  the  period,  and  a  comic 
history  of  England  in  a  vein  of  rich  humor 
and  subtle  satire.  Because  Miss  Austen  was 
about  seventeen  when  she  wrote  these  delicious 
little  pieces,  nearly  all  the  critics,  including 
Gilbert  K.  Chesterton  who  writes  the  preface 
to  the  volume,  make  the  mistake  of  treating 
them  as  childish  efforts  and  juvenilia.  They 
forget  that  Miss  Austen  finished  Pride  and 
Prejudice  before  she  was  twenty-one  and  that 
one  does  not  develop  in  three  years  from  a  naive 
child  into  one  of  the  great  masters  of  English 
prose  narrative.  No :  the  pieces  in  Love  and 
freindship  are  the  deliberate  fabrications  of  a 
mature  and  highly  sophisticated  mind.  The 
seeming  ingenuousness  of  the  stinging  satire 
and  chuckling  humor  of  these  scraps  are  the 
calculated  effects  of  a  clever  girl  who  knew 
what  she  was  about  and  knew  how  to  achieve 
it  in  the  happiest  and  most  successful  fashion. 
They  are  apprentice  pieces,  true  enough,  in  that 
they  were  never  conceived  as  full-length 
novels,  but  they  are,  none  the  less,  perfect  even 
as  fragments.  It  would  not  surprise  me 
greatly  if  Love  and  Freindship  found  as  much 
favor  with  the  reading  public  as  The  Little 
Visiters.  It  is,  certainly,  a  much  funnier  book 
and  no  less  certainly  a  permanent  addition  to 
the  visible  works  of  a  woman  who  has  never 
yet,  I  think,  received  credit  commensurate  with 
her  achievement  as  an  artist. 

An  autobiography  to  rank  with  one  of  the 
great  personal  confessions  is  Harry  Kemp's 
Tramping  on  Life.  Here  is  the  life  story  of 
a  vagabond,  loafer,  idealist  and  poet  set  down 
with  refreshing  and  amazing  candor.  It  is 
difficult  to  conceive  of  a  man  telling  the  pitiless 
truth  about  himself  in  the  fashion  set  forth  in 
this  book.     This  sort  of  thing  is  done  once  in 


a  century  or  so  and  is  left  to  one's  heirs  and 
assigns  to  be  published  posthumously.  One 
cannot  but  congratulate  the  people  Mr.  Kemp 
writes  about  in  relation  to  himself  in  this  book, 
most  of  whom  are  living  and  presumably  on 
friendly  terms  with  Mr.  Kemp,  on  their  good 
sportsmanship.  For  Mr.  Kemp  spares  his 
friends  no  more  than  himself.  He  depicts 
them  under  the  thinnest  disguises  and  exposes 
them  to  the  criticism  and  ridicule  of  the 
reader.  Indeed,  Mr.  Kemp  permits  himself  the 
pleasure  of  criticising  and  ridiculing  them  him- 
self— never,  mind  you,  in  a  spiteful  or  malicious 
fashion,  but  as  an  expression  of  sober  opinion 
and  truthful  observation. 

It  is  an  absorbingly  interesting  story  of  a  naif 
and  rather  clownish  fellow,  his  heart  pulsing 
at  one  moment  for  the  working-man  and  at 
another  moment  for  his  friend's  wife,  a 
credulous  and  gullible  Utopian,  always  ready  to 
swallow  every  radical  nostrum,  march  in  every 
unpopular  parade,  follow  every  literary  freak, 
and  be  blown  about  by  all  the  winds  of  hokum 
doctrine.  He  has  an  instinct  for  martyrdom 
and  not  one  grain  of  commonsense.  At  twenty- 
five,  altho  he  slept  in  box-cars  and  barrooms, 
mingled  with  prostitutes,  pickpockets,  tramps 
and  all  the  derelicts,  misfits  and  outlaws  of 
society,  had  been  familiarly  in  contact  with 
every  vice  and  crime  of  the  underworld,  and 
had  discussed  sex  from  every  angle  with 
Emma  Goldman,  Upton  Sinclair,  Elbert  Hub- 
bard and  all  the  other  sex  radicals  of  the 
period,  he  was  still  a  lay  Anthony  worrying 
greatly  about  the  probable  effect  upon  his 
poetry  if  he  should  lose  his  chastity.  The 
episode  wherein  he  relates  how  he  learned  what 
he  wanted  to  know  is  one  of  the  most  delight- 
fully naive  stories  I  ever  read,  an  unusual  and 
touching  ideal  that  gains  a  little  in  poetic  im- 
pressiveness  by  being  slightly   funny. 

Of    Rebecca    West's    excellent    novel,     The 
Judge,  I  shall  treat  in  another  causerie.     I  fell 
asleep    on    the    tenth    page    of    J.    Middleton 
Murray's  Still  Life  and  this  was  such  exquisite 
relief   from  boredom  that  I  was  not  prompted 
to  return  to  it.   Rita  Coventry,  by  Julian  Street, 
I  recommend  as  a  novel  of  more  than  passing 
interest  by  a  man  who  is  not  a  flaming  genius 
but  a  most  competent  craftsman  with  a  knack 
for   telling   an    interesting    story.      Rex    Beach 
deserts  the  scenario  marts  in  Flowing  Gold  and 
returns   to   his    desk  as   a   writer   of   excellent 
stories    in    the    Jack    London    tradition.      Mr. 
Beach  is  a  man  of  breezy  and  ebullient  imagina- 
tion who  sheds  no  light  on  the  major  problems 
of  human  life,  brings  to  his  pages  no  original 
or   impressive  viewpoint,  but  who   spins  yarns 
which  have  an  appealing  and  justifiably  popular 
romantic     and      picaresque      tinge.        In      My 
Northern  Exposure,  by  George  Chappell,  by  in- 
tent  a   burlesque    of   narratives    of    the    arctic 
and    antarctic    explorers,    I    found    nothing    to 
amuse  me.     Chappell's   talents    for   humor   are 
good,  but  he  invariably  blows  up  every   funny 
notion  he  has   into  proportions   which  take  all 
the  fun  out  of  it.     Great  writers  of  parody  and 
burlesque,   like   Thackeray   and   Beerbohm,   get 
all    their    effects    within    a    few    pages ;    it    is 
impossible  to  burlesque  a  book  successfully  by 
writing  another  book  as  long  as  it  is,  for  the 
greatest  element  in  burlesque,  as  in  the  epigram, 
is  brevity. 


Illllllll I I I 1 MIIJIUII1  IN MMIMIIi 


TWO  VERSES 

By  James  Edwin  Reid,  Jr. 


Flowers 


Trees 


Flowers 

Are  but  the  unborn  children 

Of  the  world — 

Children 

TV  ho  pity  us, 

Because   we   are 

Mortals. 


A   tree  just  stands 

The    whole    day    long, 

And  shakes 

With   laughter — 

Laughing 

At  our  puny  efforts 

To  enjoy  life. 


Page  Sixty-Eight 


SuADOWLAND 


Heroes  or  Human 
Beings  ? 

(Continued  from  page  39) 

Heroes?  ,  Yes,  but  also  human  beings,  subject 
to  the  frailties  of  the  flesh.  Look  at  the  list  of 
those  who  stood  on  the  borderland  of  genius 
and  insanity:  Blake,  Swift,  Johnson,  Cowper, 
Lamb,  Chatterton,  Pascal,  Southey,  Byron, 
Campbell,  Goldsmith,  Rousseau,  Poe,  and  others. 

The  relation  between  genius  and  insanity, 
which  other  authorities  besides  Lombroso  have 
sought  to  establish,  is  being  traced  thru  an  end- 
less line  of  figures  as  a  result  of  the  terrible 
religion  of  truth.  It  brings  to  light  such  human- 
istic facts  as  that  Hogarth  conceived  his  gro- 
tesque scenes  in  a  Highgate  tavern  after  his 
nose  had  been  broken  in  a  dispute  with  a  drunk- 
ard ;  that  Socrates  often  danced  and  jumped  in 
the  street  apparently  without  rhyme  or  reason ; 
or  that  Fontenelle,  when  dining  with  a  com- 
panion who  was  suddenly  stricken  with  apo- 
plexy, did  not  permit  himself  to  be  disconcerted, 
but  simply  took  advantage  of  the  incident  to 
change  the  asparagus  dressing  from  sauce  to 
vinegar. 

Another  relationship,  that  between  glands  and 
personality,  has  been  set  forth  in  a  book  by 
Dr.  Louis  Berman.  The  life  of  the  individual, 
he  says,  is  dominated  by  his  internal  secretions, 
the  products  of  his  glands  (the  chemistry  of 
the  soul ! ) . 

See  what  forces  have  made  us  what  we  are 
today — the  pituitary  glands  in  the  head,  the 
thyroid  in  the  neck,  the  adrenal  in  the  stomach, 
all  these  so-called  ductless  or  endocrine  glands. 

Florence  Nightingale  followed  her  career  of 
nursing  so  determinedly  because  of  the  high 
percentage  of  masculine  endocrines  in  her  com- 
position. Her  type  was  the  pituitocentric,  as 
was   Napoleon's,   Nietzsche's,   and   Caesar's. 

"Destiny  is  always  ironic,"  says  Dr.  Berman. 
"The  deficiency  of  the  internal  secretions  which 
made  Napoleon  eligible  for  glory  was  also  re- 
sponsible for  his  downfall.  His  rise  and  fall 
followed  the  rise  and  fall  of  his  pituitary  gland. 

"Before  he  made  himself  emperor,  it  was 
noticed  that  he  was  becoming  fat,  a  pituitary 
symptom.  A  comparison  of  portraits  at  dif- 
ferent stages  of  his  rise  and  fall  shows  an 
increasing  abdominal  paunch  and  a  laying  down 
of  fat  in  the  pituitary  areas,  around  the  hips, 
the  legs,  and  so  on.  The  beginning  of  weak- 
ness in  judgment  that  he  was  to  exhibit  soon 
in  the  invasion  of  Russia  manifested  itself  at 
the  same  time.  His  keen  calculating  ability  at- 
tained the  peak  of  its  curve  at  Austerlitz,  Jena 
and  Friedland.  Thereafter  the  descent  be- 
gins." 

H.  G.  Wells,  in  his  treatment  of  Alexander 
the  Great  in  The  Outline  of  History,  has  much 
to  say  of  Alexander's  wise  father  Philip  and 
his  mean  and  murderous  mother,  Olympias — ■ 
stories  which  "have  to  be  told  because  history 
cannot  be  understood  without  them.  Here  was 
the  great  world  of  men  between  India  and  the 
Adriatic  ready  for  union.  And  the  stories  dis- 
play the  quality  of  human  beings  to  whom  these 
great  opportunities  came. 

"Here  was  this  Philip  who  was  a  very  great 
and  noble  man,  and  yet  he  was  drunken.  He 
could  keep  no  order  in  his  household.  Here  was 
Alexander,  in  many  ways  gifted  above  any  man 
of  his  time,  and  he  was  vain,  suspicious,  and 
passionate,  with  a  mind  set  awry  by  his 
mother." 

Mr.  Wells  adds  that  we  are  beginning  to 
understand  what  the  world  might  be,  were  it 
not  for  our  still  raw  humanity.  We  are  only 
seventy  generations  away  from  Alexander,  and 
only  four  or  five  hundred  since  our  ancestors 
who  were  savage  hunters  and  charred  their 
food  in  the  embers  or  ate  it  raw.  You  cant 
do  much  with  a  species  in  that  little  time.  If 
we  make  men  jealous  or  angry  enough,  the  hot 
red  eyes  of  the  caveman  glare  out  at  us  today. 

"We  have  tamed  and  bred  the  beasts,  but 
we  have  still  to  tame  and  breed  ourselves." 


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(State  whether  Mr.,  Mrs.  or  Miss) 


The  Wit  of  the  Irish 

Laurette  Taylor  has  it  in  superabundance.     Harry  Carr  found  this  out  when  he 
talked  with  her  in  the  Hollywood  studio,  where  she  is  making  "Peg  O'  My  Heart." 

The  interview  was  so  delicious  and  out  of  the  ordinary  that  he  wrote  it  up  for  the 

January  MOTION   PICTURE  MAGAZINE 

Here  are  some  choice  paragraphs  from  it : 

Says  Laurette:  "  .  .  .  I  dont  like  blarney.  The  only  thing  that  anybody  has  said 
about  Peg  since  I  came  out  here  that  really  pleased  me  ivas  said  by  Doug  Fairbanks. 
I  ivas  over  at  Pickfair  the  other  night  and  Mary  ivas  helping  me  •with  my  make-up. 
I  asked  Doug  ivhat  he  thought  about  the  picture  and  he  said,  'Laurette,  you  couldn't 
fail.    Your  face  is  as  funny  as  Charlie  Chaplin's  feet.'  " 

"...  Before  I  married  Hartley  Manners  he  brought  in  'Peg  O'  My  Heart'  one  day 
and  told  me  I  could  play  it  for  a  little  ivhile  until  he  could  finish  a  good  one  he  ivas 
•writing  for  me.  But  I  did  'The  Bird  of  Paradise'  before  I  met  Hartley.  I  ivas  on 
the  map  first." 

Another  amusing  feature  in  the  January  number  is  "If  I  Were  Mr.   Hays" — 

two  pages  of  surpassing  cartoons  by  Kober. 


Page  Sixty-Nine 


SuADOWLAND 


Specially  posed  by  Zita  Moult  on 

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Importing  Europe's  Foremost  Stage 


{Continued  from  {rage  23) 


As  well  as  service  a  la  carte 


painstaking  stage,  The  Lozver  Depths  reached 
the  public  and  it  was  recognized  at  once  as  a 
work  of  supreme  merit  and  moment.  It  has 
held  its  place  in  the  theater's  repertory  ever 
since,  hardly  a  season  passing  without  its 
frequent  repetition. 

The  scenes  of  the  play,  as  many  in  this 
country  will  recall,  introduce  us  to  those  who 
live  and  dream  and  doubt  and  believe  below 
society's  deadline ;  thieves  and  street-walkers 
and  sots  and  ragamuffins,  their  wily  hostess, 
her  offensive  master  and  her  sated  lover ;  and 
a  pilgrim  who  is  one  of  them  and  yet  not  of 
them  and  whom  they  tolerate  because  he  under- 
stands them  and  not  because  they  understand 
him.  Death  intrudes  among  them,  murder  and 
suicide,  jealousy  between  sisters,  the  last  faint 
flickerings  of  ambition,  romance,  revenge.  At 
each  intrusion  of  one  of  these  natural  forces, 
there  is  a  ripple  of  feeling  among  the 
denizens  of  this  night  lodging,  but  it  vanishes 
with  only  a  trace  upon  souls  whose  defiance  of 
life  is  beaten  dull. 

Never  in  any  theater  have  I  seen  a  play 
more  emotionally  and  intellectually  overpower- 
ing than  Stanislavsky's  production  of  this 
masterpiece  of  Russia's  single  living  master  of 
the  drama. 

Some  will  quarrel  with  me  for  calling  The 
Lozver  Depths  a  play  at  all.  It  isn't,  according 
to  strict  academic  standards ;  it  has  the  slightest 
of  plots,  the  minimum  of  structure.  It  moves 
slowly,  stumblingly,  to  no  certain  goal.  But 
whether  it  tells  a  story  or  not,  whether  it 
moves  or  stands  still,  it  lays  bare  profoundly, 
impressively,  piteously,  the  secret  hearts  and 
souls  of  men  and  women  who,  like  so  many  of 
the  characters  of  Dostoievsky  and  Tolstoy  and 
even  of  Dickens,  have  had  to  descend  to  the 
lowest  rung  of  the  ladder  to  catch  a  gleam  of 
eternal  things.  And  that  spectacle,  when  it  is 
made  convincing  by  novelist  or  dramatist,  has 
the  purging  power  of  the  noblest  tragedy. 

Aside  from  this  kinship  with  the  austerity 
of  Greek  tragedy,  The  Lozver  Depths  draws 
much  of  its  convincing  power  from  its  unusual 
use  of  and  dependence  on  the  channels  of  ex- 
pression which  are  peculiar  to  the  art  of  the 
theater.  It  is  almost  wholly  independent  of 
drama  as  literature.  Less  than  any  play  I 
know,  is  it  possible  to  imagine  its  potential 
effect  in  the  theater  from  a  reading  of  its 
printed  lines.  As  I  have  analyzed  this  factor 
briefly  and  pointedly  in  my  book  on  The  Rus- 
sian Theatre,  I  shall  quote : 

"The  Lozver  Depths  is  not  so  much  a  matter 
of  utterable  line  and  recountable  gesture  as  it 
is  of  the  intangible  flow  of  human  souls  in 
endlessly  shifting  contact  one  with  another. 
Awkward  but  eloquent  pauses  and  emphases, 
the  scarcely  perceptible  stress  or  dulling  of 
word  or  gesture,  the  nuances  and  the  shadings 
of  which  life  is  mostly  made  and  by  which  it 


reveals  its  meaning — these,  and  the  instinctive 
understanding  of  the  vision  of  the  playwright 
by  those  who  seek  to  interpret  him,  are  the 
incalculable  and  unrecordable  channels  thru 
which  The  Lower  Depths  becomes  articulate 
at  the  Moscow  Art  Theatre." 

One  of  the  most  remarkable  things  about  the 
presentation  of  Gorky's  masterpiece  is  that 
today,  twenty  years  after  its  premiere,  its  lead- 
ing roles  are  taken  by  the  same  players  who 
created  them :  Stanislavsky,  the  theater's  co- 
founder,  producer  and  first  artist,  as  the  tat- 
tered Satine,  mouthpiece  of  the  playwright's 
defiant  faith  in  the  God  in  man;  Katchaloff, 
first  actor  after  Stanislavsky,  as  the  Baron, 
neurotic  remnant  of  better  days ;  Moskvin, 
Russia's  leading  high  comedian,  as  old  Luka, 
the  pilgrim  who  comes  unobstrusively  among 
these  outcasts  of  society  and  gives  those  who 
are  hopeless  a  gleam,  at  least,  of  faith ; 
Luzhsky,  admirable  character  actor,  as  the 
touzled  Bubnoff ;  and  the  sturdy  Vishnevsky 
as  the  stolid  Tatar. 

Madame  Olga  Knipper-Tchehova,  widow  of 
the  playwright,  Tchehoff,  the  first  actress  of 
the  company,  used  to  play  the  role  of  the 
street-walker,  Nastya,  but  today  she  is  usually 
seen  as  Vassillissa  Karpovna,  the  jealous  and 
vindictive  wife  of  the  keeper  of  the  lodging- 
house. 

Realism  is  the  ruling  artistic  doctrine  of 
Europe's  foremost  stage.  It  has  turned  aside 
to  experiment  occasionally,  but  in  the  main  its 
twenty- four  years  have  been  devoted  to  the 
perfection  of  the  theory  that  the  most  effective 
esthetic  interpretation  of  life  is  by  way  of 
representation  or  the  imitation  of  life.  Copy 
life  so  faithfully  that  the  traffic  of  the  stage 
has  all  the  illusion  of  actuality,  has  been  the 
motto  of  this  theater. 

But  the  Moscow  Art  Theatre  has  not  been 
content  with  the  imitation  of  the  outer  aspects 
of  life.  Year  by  year  it  has  penetrated  deeper 
and  deeper  into  the  psychological  and  spiritual 
problems  of  the  new  plays  it  produces  and  also 
the  old  ones  it  retains  in  its  repertory.  Year 
by  year  with  the  close  association  of  a 
permanent  group  it  has  sought  and  found  both 
the  conscious  and  the  subconscious  means  of 
conveying  these  hidden  aspects  of  reality  to  the 
audience.  And  today  the  realism  of  this  stage 
is  so  far  superior  to  the  realism  we  know,  so 
living  and  vital  and  pulsating  a  thing,  that  it 
is  hardly  fair  to  call  it  by  the  old  terminology. 

Just  what  it  should  be  called,  may  be  safely 
left  with  their  American  audiences  when  they 
arrive  in  New  York  shortly  after  the  New 
Year.  We  are  not  over-fond  of  having  labels 
made  for  us.  We  like  to  invent  them  our- 
selves. And  something  terse  and  to  the  point 
is  likely  to  emerge  to  describe  the  means  by 
which  these  artists  from  Russia  convey  to  us 
so   eloquently   their    interpretation   of   life. 


Music  During  Luncheon, 
Dinner  and  Supper 


Page  Seventy 


SuADOWLAND 


Three  Women  Poets 

(Continued  from   page   51) 


Sara  Teasdale  says  merely : 

Like   girls   at    their   communion 
The  pear-trees  stand. 

The  image  is  there.  The  irony  is  missing.  And 
yet  Miss  Teasdale  is  quick  at  unexpected 
turns    and    prone    to    brief    bitter    conclusions. 

The  essence  of  her  art  is  economy.  Often 
within  a  single  octave  she  strikes  a  more 
resonant  chord  than  another  poet  will,  tho  he 
use  the  fingers  of  both  hands.  She  prefers 
the  brief  lyric,  the  short  line,  the  monosyllabic 
word.  And  with  these  simple  tools  she  makes 
something  so  melodious,  so  magical,  so  memor- 
able that  one  seldom  turns  away  to  wonder 
why  she  is,  after  all,  content  with  little. 

For  Miss  Teasdale's  theme  is  as  unvarying 
as  her  method.  Her  songs  are  all  of  love, 
whether  it  be  Sappho's  or  her  own,  its  ebb  or 
its  flow,  its  flame  or  its  shadow.  Some  five 
years  ago  she  collected  many  of  the  lyrics 
which  had  appeared  in  previous  volumes  to- 
gether with  a  few  new  ones  in  a  book  called 
Love  Songs.  Here  one  finds  some  of  the  love- 
liest lyrics  in  modern  English  poetry.  It  is 
true  that  there  are  a  certain  number  of  cliches, 
almost  inevitable  in  this  type  of  verse.  And 
Miss  Teasdale's  trick  of  surprise  in  her  final 
couplet  is  a  bit  overdone.  Yet  her  music  is 
always  sure,  and  her  sense  often  sharp.  The 
following  lyric  is   fairly  typical : 

COME 
Come  when  the  pale  moon  like  a  petal 

Floats   in   the  pearly   dusk  of  Spring, 
Coyne  with  arms  outstretched  to  take   me, 

Come  with  lips  pursed  up  to  cling. 

Come,  for  life  is  a  frail  moth  flying. 

Caught  in  the  web  of  the  years  that  pass, 

And  soon  we  two,   so  warm  and  eager, 
Will  be  as  the  grey  stones  in  the  grass. 

The  recent  volume,  Flame  and  Shadoiv,  has 
in  it  less  of  the  troubled  hesitancies,  the  wist- 
ful joys  of  young  love,  and  is  richer  in  tech- 
nical beauty  as  it  is  in  emotional  content  than 
any  of  the  earlier  books.  But  it  differs  from 
them  only  in  so  far  as  it  is  a  deeper,  graver, 
more  mature  appreciation  of  what  they 
guessed  and  hinted  at.  Such  poems  as  My 
Heart  Is  Heavy,  June  Night,  and  more  especially 
The  Long  Hill,  are  evidence  of  the  poet's 
growth.  Chief  among  the  indications  of 
change  is  the  little  eight-line  poem  not  found 
in  any  of   Miss  Teasdale's  books : 

TIRED 

If   I   shall   make   no    poems    any    more, 
There  will   be  rest,   at   least,  so  let  it   be. 
Time    to    look    up    at    golden    stars    and    listen 
To  the  long  mellow   thunder  of  the  sea. 
The  year  will  turn  for  me,  I   shall  delight  in- 
All  animals,   and   some   of   my   own    kind; 
Sharing  with   no  one   but  myself   the  frosty 
And   half   ironic   musings   of   my    mind. 

Ill:    Lola  Ridge 

If  Miss  Teasdale  frequently  celebrates  lone- 
liness, one  feels  of  Lola  Ridge  that  she  is 
lonely  as  few  other  poets  dare  to  be.  A  fifteen- 
year  residence  in  this  country  entitles  her  to  be 
considered  with  these  American  poets,  altho 
she  was  born  in  Ireland  and  lived  for  some 
time  in  Australia  and  New  Zealand.  Possibly 
because  she  is  a  solitary,  she  has  been  able  to 
realize  the  American  scene  and  to  disentangle 
the  subtle  complexities  of  the  modern  Ameri- 
can world  so  successfully.  Miss  Ridge  is  at 
the  opposite  pole  from  Miss  Teasdale.  Miss 
Millay  seems  to  stand  between  the  two :  not 
disregarding,  like  the  latter,  the  social  back- 
ground, nor  yet,  like  the  former,  more  fiercely 
concerned  with  social  issues  and  impersonal 
realities  than  with  the  vivid  immediacies  of 
love  and  death. 

There  is  an  almost  masculine  quality  about 
Lola  Ridge's  work.  She  has  been  too  close 
to  sordidness,  ugliness  and  violence  ever  to 
escape  completely  into  the  serene,  silken  world 
that  ignores  the  sub-soil  from  which  it 
springs.  Strength  rather  than  beauty  informs 
these  poems.  And  yet  there  is  beauty  in 
abundance — that  which  she  offers  with  supreme 


irony  To  the  American  People  in  the  dedication 
of  her  first  book : 

Will   you    feast   with    me,    American   People? 
But  what  have  I  that  shall  seem  good  to  you ! 

On  my  board  are  bitter  apples 
And  honey  served  on  thorns, 
And  in  my  flagons  fluid  iron, 
Hot  from  the  crucibles. 

How  should  such  fare  entice  you! 

The  opening  poem,  the  title-poem  of  the 
book,  The  Ghetto,  is  perhaps  the  most  power- 
ful piece  Miss  Ridge  has  ever  done.  It  is  a 
long  poem,  and  all  the  more  remarkable  for 
sustaining,  thru  over  twenty  pages,  the  pas- 
sion, the  vigor,  the  color  and  the  sensitive  pity 
of  which  it  is  wrought.  It  is  impossible  to  do 
more  than  pluck  here  and  there  some  image 
torn  from  its  context,  leaving  the  poem  in  its 
full  complex  significance  to  be  merely  guessed. 
Scenes   like   this  : 

The  heat  in  Hester  street, 

Heaped  like  a   dray 

With  the  garbage  of  the  world. 

Portraits   like  this  : 

.   .    .    night    by    night 

I  see  the  love-gesture  of  his  arm 

In   its   green-greasy    coat-sleeve 

Circling    the    Book, 

And   the  candles  gleaming   starkly 

On  the  blotched-paper  whiteness  of  his  face, 

Like   a   miswritten   psalm   .   .    . 

Glimpses  like  this : 

The   sturdy    Ghetto   children 

March    by   the  parade, 

Waving    their    toy    flags, 

Prancing    to    the    bugles — 

Lusty,    unafraid   .    .    . 

Shaking    little    fire-sticks 

At  the  night — 

The  old   blinking   night — 

Swerving    out    of    the    way, 

Wrapped    in    her    darkness    like    a    shawl. 

And  this: 

Lights    go    out 

And  the  stark  trunks  of  the  factories 
Melt   into   the   drawn    darkness, 
Sheathing  like   a   seamless  garment. 

And  mothers  take  home  their  babies, 
Waxen  and   delicately   curled, 
Like  little  potted  flowers  closed  under  the 
stars. 

Few  of  the  other  poems  in  this  book,  tho 
they  are  all  far  briefer — some  only  a  few  lines 
to  form  an  image — are  as  sustained  as  the 
opening  one.  The  effect  of  the  volume  is 
cumulative.  No  one  poem  in  the  section  called 
Manhattan  Lights  but  is  added  to  by  all  its 
fellows.  The  poems  about  labor  are  like 
hammers  on  awful  anvils,  struck  with  different 
force,  with  different  vibrations  and  resonances, 
all  contributing  to  a  portentous,  terrible 
symphony.  Yet  each  'separate  poem,  despite 
some  imperfections  of  technique,  such  as  un- 
necessary rhymes  or'  Whitmanesque  inversions, 
is  tense  and  hot  with  passion,  that  fierce  social 
passion,  the  love  of  love  and  hate  of  hate, 
which  burns  here  as  white  and  acrid  and 
devouring  as  the  most  fiery  of  our  more  vulgar 
hungers.  These  images  are  alive  with  intimacy, 
swift  as  a  blow,  nervous  as  the  fingers  of  fever. 
Here  is  Flotsam,  with  its 

Slovenly    figures    like    untied    parcels 
And  papers  wrapped  about  their  knees. 

And  that  old  woman  on  the  chilly  park 
bench,  sprawling  gracelessly,  diffused  like  a 
broken  beetle.  There  is  that  smiling  tenement 
mother : 

With  eyes  like  vacant  lots 
Rimming  vistas  of  mean  streets 
And  endless  washing  days   .   .   . 
Yet  with  sun  on  the  lines 
And  a   drying   breeze. 

The  Everlasting  Return,  with  its  unfor- 
getable  pictures  of  the  Carthaginian  galleys 
all  but  dimming  the  juxtaposed  picture  of 
submarine  warfare,  is  brimming  with  strange 
things  intensely  realized.  There  are  few 
(Continued  on  page  75) 


o^Make  Your  Little  Qirl 
Jiappy 

t—with  an 

Gdd-a-faearJi 

NECKLACE 

The  family  and  friends 
loill  keep  it  growing-' 

Mth,      AS*    YOU"~      JEWELED    ^yjk, 


A  Partial  List 

of  the    Contributors  to  the 

January 

Walter  Prichard  Eaton 
Benjamin  De  Casseres 
Kenneth  Macgowan 
Babette  Deutsch 
Burton   Rascoe 
Wynn 

Jerome  Hart 
Edward   Hungerford 


PRISO  NER 


Copyright  1921  Ford's  Foto  Studio* 

And  there  will  I  keep  you  forever. 

Yes,  forever  ami  a  day. 
Till  the  walls  shall  crumble  to  ruin. 
And  moulder  in  dust  away? 
From  Longfellow's  poem  "The  Children's  Hour."  we  offer  a 
most  unique  and  beautiful  art  study.  A  wonderfully  beautiful 
girl— A  PRISONER!  Why?  For  What?  By  Whom?  Could  one 
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You'll  study  it.  You'll  talk  about  it,  and  whether  you  like  or 
dislike  art,  you  will  realize  there  is  something  more  inspiring, 
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satisfied.  Our  framed  pictures  are  unsurpassable.  You  will  do 
well  to  order  your  picture  framed.  Your  copy  finished  in  choice 
oil  colors  will  be  sent  upon  receipt  of  the  sum  given  below  in 
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Page  Seventy-One 


£u4E>QWl/XNL> 


B 


SB 


Start  a 
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the  ingredients  required  can  be  pur- 
chased at  any  drug  store,  such  as 
tweezers,  bowls,  saucers,  witch-hazel, 
glycerine,  cold  cream,  etc.,  except  the 
mud  bath,  which  is  my  own  secret 
preparation  ;  but  I  will  make  a  special 
price  on  this  and  on  all  my  prepara- 
tions, if  my  pupils  prefer  them  to  others. 

This  is  an  Age  of  Beauty 

In  a  few  years  you  will  see  Beauty 
Shops  everywhere.  Learn  the  business 
now !  Start  in  a  small  way,  and  some 
day  you  may  own  a  handsome  Beauty 
Parlor  on  the  main  street,  with  dozens 
of  girls  doing  the  work  for  you.  There's 
Big  Money   in   it! 

CORLISS  PALMER 

Brewster  Buildings,  Brooklyn,  N.Y. 


! 


The  Devil  Among  the  Critics 


{Continued  from  page  3!) 


Page  Seventy-Two 


musicians.  Liszt's  book  on  Chopin  is  one  ex- 
ample of  my  contention.  It  is  the  musical 
writer  or  reviewer  of  limited  accomplishment 
and  restricted  knowledge  of  the  art  who  blun- 
ders and  generally  praises  without  judgment  or 
discretion  and  blames  more  or  less  unjustly. 
He  does  not  know  enough,  either  theoretically 
or  practically,  to  speak  ex  cathedra  and  to  give 
sound  and  impressive  reasons  for  the  faith 
which  he  would  have  his  readers  believe  is  in 
him.  If  he  ventures  on  analysis,  he  is  gen- 
erally wrong,  and  so,  like  a  once  well-known 
English  judge,  he  hands  down  his  decisions 
without  giving  reasons.  Thus  it  is  that  the 
mass  of  musical  criticism  is  comparatively 
worthless  as  a  guide  to  opinion,  while  much 
of  it  is  equally  negligible  as  literature." 

"Can  you  give  examples  of  other  great 
musicians  as  critics?" 

"Yes,  several.  Germany  has  produced  some 
really  fine  musical  critics  of  this  sort.  Gluck, 
for  instance ;  while  Schumann's  essays  and 
criticisms  should  be  read  by  all  who  wish  to 
hear  and  understand  music  aright.  There  are 
two  branches  of  musical  criticism,  both  equally 
interesting  and  important — the  one  which  is  a 
scientific  analysis  of  musical  form,  contents 
and  treatment ;  the  other  the  spiritual  compre- 
hension of  the  aesthetic  side  and  influence  of 
music,  possible  only  to  the  mind  keenly  alive 
and  highly  cultivated. 

"Schumann  represented  the  ideal  musical 
critic,  for  both  these  essentials  are  to  be  found 
in  his  writings.  That  is,  they  are  based  on 
sound  and  thoro  knowledge  and  display  an  ex- 
quisite refinement  of  appreciation.  They  are, 
moreover,  rich  in  ideas,  marked  by  not  a  little 
humor  and  occasionally  sarcasm,  altho  Schu- 
mann was  incapable  of  savagery  in  his  com- 
ments, and  would  never  say  an  unkind  thing 
just  because  it  happened  to  be  smart." 

"What  about  Wagner — he  wrote  a  lot  about 
music,  did  he  not?" 

"Yes.  In  addition  to  his  marvelously  prolific 
creative  faculty,  both  as  musician  and  poet,  he 
had  the  philosophic,  analytic  mind,  together  with 
the  gift  of  trenchant,  picturesque  expression  in 
words.  His  Opera  and  Drama  opened  up  for 
the  general  as  well  as  the  educated  musical 
reader  the  vast  vista  of  his  imaginings  and 
theories,  and  explained  as  nothing  else  could 
the  scope  of  his  achievements.  Many  have 
written  about  Wagner,  but  not  even  that  bril- 
liant enthusiast,  Bernard  Shaw,  has  explained 
him   as    he   explained   himself." 

"Bernard  Shaw.  I  did  not  know  he  was  a 
musician  or  a  critic." 

"He  was  both.  He  learned  the  theory  and 
practice  of  music  from  his  mother,  a  fine 
musician.  His  musical  criticisms  for  the  Lon- 
don Star  were  among  the  most  trenchant  and 
stimulating  I  have  ever  read,  while  he  wrote  a 
delightful  little  book  entitled  The  Perfect  Wag- 
nerite." 

"Wagner  wrote  only  about  himself  and  his 
own  music,  did  he  not?" 

"No,  there  you  are  wrong.  There  is  his 
little-known  book  about  Beethoven,  which,  if 
you  do  not  read  German,  has  been  competently 
translated,  like  his  Opera  and  Drama,  by  Ed- 
ward Dannreuther.  In  analytical  discernment 
as  well  as  pungent  expression  it  is  characteristic 
of  its  author.  There  is  also  his  treatise  Judaism 
in  Music,  largely  provoked  by  his  not  inexcus- 
able dislike  of  Meyerbeer  and  his  music,  and 


this,  like  his  work  on  Beethoven,  compels  one 
to  think,  and  any  writing  which  does  that  is 
valuable." 

"Are  there  any  French  composers  who  are 
also  critics?" 

"Oh,  yes.  There  are  Berlioz,  Franck,  who  was 
quite  as  much  French  as  Belgian,  Saint-Saens, 
Debussy,  and,  among  the  most  modern,  Florent 
Schmitt.  Berlioz  wrote  better  than  he  com- 
posed, while  Franck  composed  much  better 
than  he  wrote,  but  both  of  them  uttered  wise 
and  pregnant  words  about  the  art  in  which 
they  achieved  so  much  distinction,  while  they 
displayed  a  fine  appreciation  of  the  work  of 
other  musicians.  Saint-Saens  was  an  erudite 
and  admirable  critic,  as  he  was  a  composer 
whose  achievements  have  been  ridiculously  un- 
dervalued by  such  men  as  Paul  Rosen  f eld  and 
others  who  are  iconoclasts  of  the  first  order, 
and  who  have  given  the  world  neither  good 
music  nor  good  literature.  But  all  of  the 
literary  composers  whom  I  have  named  sup- 
port the  accuracy  of  my  thesis  that  the  best 
musical  critics  are  those  who  have  created, 
and  who  must  necessarily  have  a  scientific 
and  practical  knowledge  of  their  subject.  These 
men  are  not  only  just,  they  are  generous  in 
their  attitude  towards  other  composers  whom 
they  seek  honestly  to  understand  and  explain." 

"Admitting  all  that  you  say,  will  you  not  give 
me  your  views  about  some  of  our  modern 
musical  critics — that  is,  the  men  who  write  for 
our  papers  and  magazines  ?" 

"You  are  trying  to  lure  me  oh  to  dangerous 
ground.  I  have  already  given  my  views  about 
Huneker,  and  in  dealing  with  the  others  it  is 
better  to  class  American  and  English  critics 
together.  The  trouble  with  criticism  in  both 
countries  is  that  there  are  no  outstanding  figures 
like  Huneker  and  Shaw,  men  of  musical  erudi- 
tion— I  am  not  thinking  of  mere  musical  his- 
torians or  writers  of  what  I  will  call  'musical 
pot-boilers,'  but  well-grounded,  scientific  musi- 
cians, who  can  pick  up  a  score  and  read  and 
analyze  it  as  easily  as  the  average  man  picks 
up  his  daily  paper  and  masters  its  contents. 
There  is  no  John  L.  Runciman,  whose  musical 
learning  was  on  a  parity  with  his  literary  skill ; 
no  Filson  Young,  whose  style  as  an  essayist 
is  as  superior  to  that  of  George  Moore  as  are 
his  knowledge  and  appreciation  of  music;  no 
Hadbw,  a  trifle  academic,  but  a  splendidly 
equipped  musician,  with  a  fine  capacity  for 
delicate  literary  expression." 

"You  are  omitting  England's  well-known 
musical   critic,   Ernest   Newman." 

"I  would  rather  do  so,  for  I  find  it  difficult 
to  respect  his  opinions  or  admire  his  style.  He 
is  the  slave  of  his  own  phrases  as  well  as  of 
his  prejudices,  and  no  one  has  done  so  much 
to  stir  up  ill-will  between  British  and  American 
musicians.  There  are,  however,  one  or  two 
English  and  American  writers  on  music  whose 
work  I  both  admire  and  respect.  I  will  men- 
tion the  brilliant  editor  of  The  Chesterian,  G. 
Jean-Aubry,  of  French  descent  evidently;  Ed- 
ward Evans  and  Robin  Legge.  Incidentally  it 
is  to  be  regretted  that  the  finely  critical  work 
of  Daniel  Gregory  Mason  and  Lawrence  Gill- 
man  does  not  find  a  place  in  our  daily  press. 
Now,  please  do  not  ask  me  for  any  further 
expressions  of  opinion  about  our  critics,  some 
of  whom  are  my  personal  friends,  and  I  would 
not  willingly  offend  them." 


SuiADQWLAND 


Art  Comment 

(Continued  from   page   61) 

for  its  object  the  advancement  of  commercial 
art,  especially  as  it  relates  to  magazine  and 
book  illustration,  advertising  in  publications,  or 
poster  advertising. 

The  Stowaways,  J.  M.  Bowles,  President,  is 
a  unique  organization  whose  members  are 
drawn  together  both  by  vocation  and  avoca- 
tion. They  are  all  interested  in  prints,  books, 
posters,  original  drawings,  typography  and 
design.  Their  main  idea  is  that  interchange  of 
ideas  encourages  individual  imagination  and 
develops  powers  of  usefulness  in  all  organiza- 
tions or  related  activities  of  the  graphic  arts. 

As  the  Art  Center  is  the  rallying  spot  for  all 
these  organizations,  it  would  be  more  than 
surprising  if  they  didn't  accomplish  a  great 
deal. 

During  October  these  constituent  organiza- 
tions combined  in  giving  an  exhibit ;  the  Art 
Directors  having  a  very  comprehensive  display 
of  commercial  art.  During  November  the  work 
of  George  Jensen,  the  well-known  Danish 
sculptor  and  silversmith,  has  been  attracting 
much  attention.  During  the  latter  part  of  the 
month  the  past  and  present  members  of 
Tiffany  Foundation  have  been  holding  an  ex- 
hibit. 

Lasting  until  the  20th  of  this  month  the  Art 
Alliance  of  America  and  the  New_  York 
Society  of  Craftsmen  are  holding  a  joint  ex- 
hibit which  includes  basketry,  book-binding, 
china,  embroidery,  enameling,  furniture,  glass, 
illumination,  ivory  carving,  jewelry,  leather 
work,  polychrome,  pottery,  photography,  print- 
ing, pewter,  silver  textiles,  toys  and  wood- 
carving. 

Another  organization  working  for  the  closer 
association  of  trade  and  art  is  the  Arts-in- 
Trade,  whose  successful  exhibit  was  held  at  the 
Waldorf  Astoria.  Their  main  object  is  to  edu- 
cate the  public  and  show  what  beautiful  things 
can  be  produced  for  home  furnishing  if  the 
principles  of  design  are  properly  applied  and  a 
reasonable  amount  of  care  taken  in  executing 
the  pieces. 

Wanamaker's  ever  interesting  Gallery,  whose 
exhibit  of  the  Mexican  landscapes  by  Jules 
Merrilac  gave  such  a  vivid  dash  of  color  to 
the  November  exhibits,  is  going  back  this 
month  to  its  original  policy  of  closely  aligning 
their  Gallery  with  their  interior  decorating 
department  and  thru  December  they  will  show 
Paintings  of  Interiors.  The  exhibiting  artists 
representing   all    schools. 

The  Wiener  Werkstatte,  581  Fifth  Avenue, 
has  added  to  its  ever  changing  exhibit  of 
Viennese  Craftsmanship  a  wonderful  collection 
of   Ceramics. 

Scott  and  Fowles,  667  Fifth  Avenue,  are 
holding  an  exhibit  of  19th  Century  Water 
Colors,  Drawings  and   Bronzes. 

The  Milch  Galleries  are  exhibiting  Marines, 
Landscapes  and  Floral  subjects  by  Sigurd 
Skow  the  first  part  of  December  and  Water- 
colors  by  Frank  Benson  the  later  part. 

Bourgeoise  Galleries,  668  Fifth  Avenue.  Open- 
ing on  November  19  and  closing  on  December 
9th,  there  will  be  a  most  interesting  exhibit  of 
Chinese  Paintings. 

Misses  Hill  Galleries,  607  Fifth  Avenue. 
Opening  the  first  Monday  in  December  and  con- 
tinuing thru  the  month  will  be  an  exhibition 
of  the  Silver  Mine  Artists,  Norwalk,  Conn. 
Coincidently  with  that,  Miss  Julie  Stohr  will 
show  paintings  of  Italy  and  France  with  some 
special  studies  made  in  Brittany. 

Dudensing  Galleries,  45  West  44th  Street. 
During  December  will  be  shown  a  collection  of 
Ralph  Blakelock's  work  and  in  January  the 
colorful  and  decorative  paintings  of  Zander 
Warshawsky  go  on  the  walls. 

Macbeth  Galleries,  450  Fifth  Avenue.  From 
November  21st  to  December  9th,  will  be  held 
the  6th  Annual  exhibit  of  Intimate  Painting's. 
On  December  the  12th  to  30th,  the  paintings 
of  George  Wharton  Edwards  will  be  shown,  as 
well  as  paintings  by  Joseph  Pennell  and  W.  G. 
Krieghoff. 

Howard  Young  Galleries,  620  Fifth  Avenue, 
will  hold  during  December  an  exhibition  of 
American  and   Foreign    Paintings. 


Ft's  Golf  Time  Now! 

— In  California 

Make  reservations  NOW  for  a 
glorious  sunshiny  winter  vacation 
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January,  February  and  March  are 
the  height  of  the  social  and  out-door 
season. 

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Open   Air   Plunge 

Motion  Picture  Theatre 

and  the  famous 

COCOANUT  GROVE  for  Dancing 

Tennis,   Riding,  Fishing  and  all  sports 

Outside   Room   and    Bath  from   $5.00   a   day. 


CD  he  Amftassaac 

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DO  YOU  LIVE  IN  A  HAUNTED  HOUSE? 

A  House  Haunted  by  the  Ghost  of  Your  Departed  Beauty  ? 


Does  this  Ghost  peer  over  your  shoulder 
whenever  you  glance  into  a  mirror,  an  un- 
happy reminder  that  your  figure  has  lost  its 
lithe  slenderness,  that  your  hair  is  scant  and 
lusterless? 

And,  whenever  you  gaze  upon  exquisite 
colorful  fabrics,  does  this  Ghost  whisper: 
"You  cannot  wear  those  tints — your  skin 


is  now  muddy  and  sallow,  your  eyes  are 
dull,  your  personality  has  lost  its  radiance 
and  charm"? 

And  is  this  Ghost  so  omnipresent  in  your 
thoughts  that  you  have  become  self-con- 
scious— even  morbid?  Has  it  driven  away 
your  grace  and  your  poise? 

If  this  case  is  yours,  then 


YOU  MUST  BANISH  THE  GHOST  BY  REPEATING 

Three  Magic  Words: 


^ecrutv 


for  JANUARY 


A  study  of  this  magazine  and  an  application  of  its  advice  and  formulas  will  gradually 
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mind  be  rejuvenated  as  well  as  your  body.  So  we  offer  in  our  New  Year's  number 
three  special  features : 

An  "Imaginary  Conversation"  with  Du  Barry  that  will  make  you  laugh — and 
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and  Spice"  that  will  fire  your  imagination. 

An  illustrated  article,  "Good  Looks  for  Xmas,"  that  will  banish  all  the  worry 
lines  which  have  been  forming  because  you  haven't  been  able  to  find  suitable 
gifts  for  the  holiday  season. 


\J  cs~^     January     Ls  C^^ 


Page  Seventy-Three 


Suadowland 


I  WHY  DO  YOU  MAKE  1 
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Page  Seventy-Four 


The  Camera  Contest 

(Continued  from  page  54) 


distinct  blur,  and  contours  are  obtained  even 
tho  working  with  the  lens  at  its  greatest  open- 
ing, usually  F-5.  By  closing  the  lens  gradually  we 
make  all  the  planes  more  distinct  but  never  ob- 
tain a  wiry  sharpness.  This  closing-down  process 
is  done  to  produce  the  effect  we  are  striving 
for  and  may  be  called  selective  focussing.  We 
can  therefore  use  a  soft  focus  lens  for  archi- 
tecture and  fine  detail  by  closing  the  lens  to 
about  F-8,  which  will  retain  the  soft  tones  and 
delicacy  of  outline  without  the  harshness  of 
line  peculiar  to  the  anastigmatic.  The  soft 
focus  lens  is  especially  desirable  for  portraiture, 
both  in  the  studio  and  other  places,  as  it  softens 
harsh  lines  without  losing  any  of  the  character 
and  reduces  retouching  to  a  minimum.  For  an 
all-around  lens  nothing  can  equal  the  soft  focus, 
as  it  can  take  care  of  every  condition  arising, 
with  the  possible  exception  of  speed  work  for 
the  press. 

The  other  lens  most  commonly  in  use  is  the 
rapid  rectilinear,  which  is  much  cheaper  than 
the  others,  gives  fine  quality,  but  requires  longer 
exposure,  as  its  working  aperture  is  usually 
F-8.  As  to  the  most  desirable  focal  length  for 
a  lens  other  than  the  anastigmatic,  it  should 
be  not  less  than  the  sum  of  the  length  and 
breadth  of  the  plate  or  film  to  be  used ;  that  is, 
the  3T/i  by  4%  should  be  7Vz  inches,  the  5  by  4 
should  be  9  inches,  the  6^2  by  8lA  should  be  15 
inches.  With  the  anastigmatic  the  focal  length 
should  be  at  least  equal  to  the  diagonal  of  the 
plate  or  film.  When  you  buy  a  lens,  study  it 
carefully,  find  out  what  can  be  done  with  it 
under  all  conditions.  If  you  see  a  picture, 
made  with  another  lens,  nearly  like  something 
you  have  tried  and  failed,  dont  get  the  other 
lens  and  cast  yours  aside,  but  try  to  find  out 
why  you  have  failed.  The  lens  is  only  mechan- 
ical, and  the  picture  must  really  come  from 
the  brain  of   the  user. 

The  judges  for  this  month's  contest  are 
Eugene  V.  Brewster,  Clarence  White  of  the 
Clarence  White  School  of  Photography,  _  and 
Louis  F.  Bucher,  secretary  of  the  Associated 
Camera  Clubs  of  America. 

First   Prise. — Tzvilight.    Robert    Hawley. 

Second  Prise. — Out  of  the  Mist.  Eleaner  L. 
Smith,  Box  565,  R.  F.  D.  No.  1,  San  Diego, 
California. 

Third  Prise. — On  Deck  of  Magama.  Johan 
Hagemeyer,  Sleepy  Hollow,  Mill  Valley,  Cali- 
fornia. 

Honorable  Mention.  —  Streamers.  Charles 
H.  Jaeger,  471   Park  Avenue,  New  York  City. 

Honorable  Mention. — Fifth  Avenue  at  St. 
Patrick's  Cathedral.  Kenneth  D.  Smith,  701 
Jewett  Avenue,   Staten  Island,  New  York. 

Honorable  Mention. — A  Summer  Studio. 
Edith  R.  Wilson,  119  Crary  Avenue,  Mt.  Ver- 
non, New  York. 

Monthly  prizes  of  at  least  $25,  $15,  and  $10 
are  awarded  in  order  of  merit,  together  with 
three  prizes  of  yearly  subscriptions  to  Shadow- 
land  to  go  to  three  honorary  mentions.  All 
prize  winning  pictures  will  probably  be  pub- 
lished in  Shadowland. 


The  committee  of  judges  includes: 

Joseph  R.  Mason,  chairman  of  committee, 
Corresponding  Secretary  P.  P.  A. ;  Eugene  V. 
Brewster,  Editor  and  Publisher  of  Shadow- 
land;  Louis  F.  Bucher,  Secretary  Associated 
Camera  Clubs  of  America;  Dr.  A.  D.  Chaffee, 
President  of  P.  P.  A.;  Arthur  D.  Chapman, 
Advisory  Committee  P.  P.  A. ;  G.  W.  Harting, 
Advisory  Committee  P.  P.  A. ;  Dr.  Chas.  H. 
Jaeger,  contributing  member  Pittsburgh  and 
Los  Angeles  Salons ;  Miss  Sophie  L.  Lauffer, 
Secretary  Dept.  of  Photography,  Brooklyn  In- 
stitute of  Arts  and  Science ;  George  P.  Lester, 
Member  P.  P.  A.  and  Orange  Camera  Club; 
Nickolas  Muray,  portrait  photographer;  John 
A.  Tennant,  Editor  and  Publisher  of  Photo 
Miniature  ;  Miss  Margaret  Watkins,  ex-Record- 
ing Secretary  P.  P.  A.;  Clarence  H.  White, 
ex-President  P.  P.  A. 

The  jury  of  selection,  to  be  announced  each 
month  with  their  selections,  consists  of  three 
members,  to  be  chosen  from  the  committee  or 
the  membership  of  the  society.  No  member  of 
the  jury  thus  chosen  for  any  given  month  shall 
submit  pictures   for  that  month's  contest. 

Shadowland  desires  that  every  camera  en- 
thusiast reap  benefit  from  this  contest  and  to 
this  end  makes  the  inclusion  of  the  following 
data  re   contesting   prints   imperative : 

(a)  Date  and  hour  of  exposure. 

(b)  Stop  number  used. 

(c)  Printing    medium    used. 

(d)  Character  of  print — whether  straight 
or  manipulated. 

(e)  Make  of  camera  and  lens. 

Any  print  previously  published  is  not  eligible. 

No  printing  medium  is  debarred,  but  capa- 
bility of  good  reproduction  will  be  a  factor  in 
the  selection  of  prints. 

Contestants  may  submit  prints  up  to  any  num- 
ber and  to  as  many  of  the  monthly  contests  as 
they  desire. 

Prints  received  on  or  prior  to  the  first  of 
each  month  to  be  considered  entered  in  that 
month's  contest. 

Name  and  address  of  maker,  title  and  num- 
ber must  be  printed  or  plainly  written  upon  the 
back  of  each  print.  Return  address  to  be 
written  plainly  upon  package. 

Prints  must  be  packed  flat.  A  small  mount 
makes  for  safety  in  handling,  but  is  not  re- 
quired. Prints  will  be  acknowledged  upon  their 
receipt. 

Rejected  prints  will  be  returned  immediately, 
provided  proper  postage  for  the  purpose  be  in- 
cluded. It  is,  however,  understood  that 
Shadowland  reserves  the  right  to  reproduce 
any  print  submitted  and  to  hold  such  for  a 
reasonable  time  for  that  purpose. 

Special  care  will  be  taken  of  all  prints  sub- 
mitted, but  neither  The  Brezvster  Publications 
nor  the  Pictorial  Photographers  of  America 
assume  responsibility   for  loss  or  damage. 

All  prints  and  all  communications  relative  to 
the  contest  are  to  be  sent  to  Joseph  R.  Mason, 
Art  Center,  65  East  56th  Street,  New  York  City. 

No  prints  will  be  considered  if  sent  elsewhere 
than  stated  above.  Submission  of  prints  will 
imply  acceptance  of  all  conditions. 


SuiADQWLAND 


Collecting  Old  Glass 

(Continued  from  page  26) 


Connoisseurship  in  old  glass  is  less  difficult 
than  it  is  in  old  china,  for  example,  since  pot- 
tery or  porcelain  collecting  is  more  varied,  more 
detailed,  has  reference  to  longer  periods  of 
manufacture,  and  involves  much  more  specific 
knowledge  than  glass  collecting  does. 

There  are  no  pottery  marks  and  no  hall- 
marks to  puzzle  or  deceive  you.  There  is  no 
such  distinction,  so  difficult  to  comprehend,  as 
that  between  "soft"  china  and  "hard."  At 
present  old  glass  is  easy  to  know  and  not  so 
difficult  to  find. 

There  are  seven  guides  that  are  highly  im- 
portant to  the  collector :  the  tint  of  the  glass ; 
the  sound  of  the  glass ;  the  quality  of  the  glass 
material;  the  weight;  the  signs  of  use  and 
wear  ;  the  pontil-mark ;  the  workmanship. 

All  these  are  rudimental.  As  the  collector 
progresses  and  gains  in  knowledge  and  experi- 
ence, other  points  will  naturally  develop. 

The  Tints  of  Old  Glass.— Old  glass  is  darkly 
brilliant.  Modern  glass  is  whitely  crystal.  The 
experienced  collector  sees  many  tints  and 
gradations  in  glass  that  the  novice  passes  over 
without  consideration.  These  varying  tints  are 
important  guides  as  to  the  age  of  glass. 

Tint  is  a  constant  feature  in  old  glass,  and 
when  a  piece  of  established  age  is  placed  upon  a 
white  tablecloth  in  juxtaposition  with  a  modern 
specimen,  it  will  show  a  pronounced  difference 
in  tint.  This  serves  as  one  of  the  most  im- 
portant guides  and  tests,  as  to  both  age  and 
period,  and  after  some  experience  will  go  far 
toward  determining  the  life  history  of  a  given 
piece. 

The  Sound  of  Old  Glass—  Perhaps  it  was 
because  more  lead  was  used  in  the  "metal"  or 
raw  material ;  at  any  rate,  old  English  and 
Irish-made  glass,  for  some  distinctive  reason, 
has  a  far  more  musical  sound  than  any  made 
elsewhere.  The  sound  of  old  Dutch,  French, 
Italian  or  German  glass,  is  cracked,  as  it  were, 
even  tho  the  vessel  itself  is  not. 

The  Quality  of  Old  Glass.— Old  English  and 
Irish  glassware  had  the  best  foundation  of  any 
glass  ever  made  in  the  world.  This  applies  not 
only  to  the  material  entering  into  the  finished 
product,  but  likewise  to  its  manipulation  and 
the  final  effect  produced. 

The  Weight  of  Old  Glass. — English-made 
glasses  of  the  first  period  were  all  light  in 
weight  and  cloudy  in  appearance.  Later  experi- 
ments removed  this  dull  and  cloudy  appearance 
and  led  to  the  production  of  a  substance-like 
crystal. 

The  Signs  of  Use  and  Wear.— Glass  is  easily 
scratched,  and  as  the  wine-glasses  and  decanters 
of  the  olden  time  were  set  down  upon  the  hard 
uncovered  mahogany  dining-tables  of  the  period, 
the  feet  of  the  wine-glasses  and  the  bases  of 
the  decanters  logically  became  scratched.  These 
scratches  are  now  a  vital  means  of  differentiat- 
ing an  old  piece  from  a  new  one  which  may  be 
intended  as  a  counterfeit.  It  is  thus  very  im- 
portant to  give  due  consideration  to  the 
scratches  on  glassware  as  a  means  of  deter- 
mining their  authenticity. 

The  Pontil-mark. — This  does  not  apply  to  all 
the  old  glass,  but  it  does  apply  to  all  old  blown 
glass.  It  is,  in  point  of  fact,  a  superlative  test, 
and  may  be  considered  a  safe  and  sure  guide. 

The  pontil-mark  is  either  a  depression  in  the 
glass,  about  the  size  of  a  finger-end,  or  a  lump 
about  the  same  size  standing  up  from  the  level 
of  the  glass  around  it.  The  pontil-mark  indicates 
primarily  that  the  piece  of  glass  was  originally 
blown  and,  second,  that  before  removing  the 
blow-pipe  the  workman  attached  the  blown 
glass  to  a  pontil.  The  pontil  or  punt  is  an  iron 
rod  joined  to  the  vessel  by  a  little  melted  glass 
while  the  vessel  was  still  hot.  When  the  time 
came  for  detaching  the  pontil,  it  was  done  by 
contact  with  cold  water,  which  caused  the  glass 
to  contract. 

In  the  oldest  glass,  the  pontil-hole  is  flaked 
with  something  which  resembles  mica.  In  every 
case  there  are  unmistakable  signs  of  the  local 
fracture.  As  a  rule,  also,  the  older  the  glass 
the  bigger  and  rougher  the  pontil-mark. 

The  Workmanship. — The  old  glass  of  Eng- 
lish and  Irish  origin  presents  many  points   of 


superiority.  French  glass  of  the  same  period 
seems  meager,  and  the  Dutch  glass  flimsy  or 
clumsy.  The  Italian  glass  is  fantastic  and 
tawdry.  Both  French  and  Italian  ware  were 
often  gilded,  while  the  Dutch  was  painted. 
Neither  of  these  features  appears  as  a  rule  upon 
either  English  or  Irish  glass.  The  substance 
was  neither  too  thin  nor  too  thick,  the  bowls 
were  perfectly  rounded,  the  stems  strong  and 
stout,  but  by  no  means  bulky.  Neither  were 
they  too  tall  or  too  short.  The  feet  were  not 
warped  or  uneven,  but  on  the  contrary  they 
held  on  to  the  table  well.  Even  in  the  freak  and 
toy  pieces,  the  excellence  of  the  workmanship 
is  distinctly  obvious. 

Bristol  produced  the  finest  glass  paper- 
weights. At  the  base  of  these  you  see  flowers 
of  colored  glass,  bright  and  varied  in  hue  and 
executed  with  marvelous   skill. 

It  is  by  no  means  out  of  the  question  for 
the  earnest  collector  to  happen  upon  an  old 
crystal  gazing-ball,  used  by  the  fashionable 
fortune-tellers  a  hundred  years  ago,  or  even  one 
of  the  old  glass  eggs  which  eighteenth  century 
ladies  held  in  their  hands  to  keep  their  palms 
cool  for  a  lover's  kiss. 

The  first  industrial  enterprise  established  in 
the  United  States  was  a  glass  bottle  factory, 
which  was  erected  in  the  Virginia  colony  soon 
after  1607.  The  works  stood  in  the  woods 
about  a  mile  from  Jamestown. 

Coarse  bottles,  and  other  articles,  were  made 
at  Salem,  Massachusetts,  in  1639,  and  a  glass 
house  was  in  operation  in  Philadelphia  in  1683. 
Glass  factories  were  subsequently  operated  in 
New  York,  Boston  and  many  other  Eastern 
cities. 

About  1810,  and  until  the  last  quarter  of  the 
century,  glass  bottles  were  produced  in  various 
shapes  and  bearing  different  devices.  Among 
the  earliest  of  these  native  products  were  those 
bearing  portraits  of  Washington  and  Lafayette, 
those  with  eagle  and  shield,  some  with  a  car 
drawn  by  a  horse,  as  well  as  one  showing  an 
early   locomotive. 

About  1840  certain  patent-medicine  bottles 
were  made  in  long-cabin  devices,  and  about  1850 
the  so-called  Jenny  hind  bottles  were  pro- 
duced in  honor  of  her  triumphs  in  this  country 
under  the  management  of  Barnum. 

itllMimilMiiiiiimiiiMiMililllM 


Three  Women  Poets 

(Continued  from  page  71) 

abstractions  in  Miss  Ridge's  poems,  and  yet 
they  are  transparent  windows  to  the  spiritual 
ardor  which  animates  them. 

Sun-Up  is  on  the  whole  a  less  powerful 
volume  than  its  predecessor.  It  is  chiefly  in- 
teresting for  the  series  of  poems  which  gives 
the  book  its  title — poems  which  sketch,  with 
sharp,  incredible,  inevitable  strokes,  the  con- 
sciousness of  a  child.  For  the  rest,  it  is  a 
book  of  protests,  of  desire  no  less  rigorous 
for  knowing  it  must  be  thwarted,  of  courage  no 
less  terrible  for  knowing  it  must  be  patient. 
That  Miss  Ridge's  anticipated  third  volume 
will  be  equally  strong  is  evidenced  by  such  a 
poem  as  the  following : 


Dawn  is  like  a  broken  honeycomb 

Spilling  over  the  waxen  edges  of  the  clouds 

That    drip    with   light. 

Spires,  swarming  up  the  mauve  mist, 
Reach   their  rosy   tips 
Like    little   pointed    tongues 
First  about  a  shining  platter, 
And  every  window  is  a  brazier 
That   cups    the   living   gold. 

Even    the    squat    chimneys 
Rooting  heaven 

Catch   the   sun   upon    their  snouts 
And    keep   it    balancing, 

Only   my   heart, 
Like   a    splintered   vase, 
Is  envious  of  the  light 
It   cannot  hold. 


The  Alluring  Charm 
of  Sparkling  Eyes 

Nothing  makes  one  look  so  Young 
and  Fresh  and  Radiant  as  Eyes  that 
Sparkle.  You,  too,  can  Possess  the 
Alluring  Charm  of  Brilliant,  Viva- 
cious Eyes  through  the  Daily  Use  of 
Murine. 

Murine  contains  no  Belladonna  or 
other  Harmful  Ingredients.  It  Re- 
freshes and  Enlivens  Dull,  Tired  Eyes. 
Use  it  Night  and  Morning.  Sold  by 
Druggists  Everywhere. 

Send  for  FREE  Boole  on  Eye  Beauty 

Murine  Eye  Remedy  Co, 
Dcpt,  C.  Chicago 


^EVe^/ 


From  the 

"Portrait  of  a  Woman 

of  Forty" 

by  Helen  Woljeska 

"The  modern  Eve  turns  more  and  more 
from  Adam  to  the  Snake  .  .  ." 

"If  love  is  nothing  else,  it  can  at  least 
he  an  exquisite  experiment  .  .  ." 

"The  fading  of  one's  body  is  to  prepare 
one  gradually  for  an  existence  altogether 
'without  it  .  .  ." 


SUAOOWLAND 

for    JANUARY 


STATEMENT  OF  THE  OWNERSHIP,  MANAGEMENT,  CIR- 
CULATION. ETC.,  REQUIRED  BY  THE  ACT  OF  CONGRESS 
OF  AUGUST  24,  SHADOWLAND  published  MONTHLY  at  175 
DTTFFIELD  ST.,  BROOKLYN.  N.  Y.  for  OCTOBER  1st,  1922 
State  of  NEW  YORK.  County  of  KINGS.  Before  me,  a  NOTARY 
PUBLIC  in  and  for  the  State  and  county  aforesaid,  personaily 
appeared  EUGENE  V.  BREWSTER,  who,  having  been  duly  sworn 
according  to  law,  deposes  and  says  that  he  is  the  PRESIDENT 
of  the  SHADOWLAND  and  that  the  following  is,  to  the  best 
of  his  knowledge  and  belief,  a  true  statement  of  the  ownership, 
management  (and  if  a  daily  paper,  the  circulation),  etc.,  of  the 
aforesaid  publication  for  the  date  shown  in  the  above  caption, 
required  by  the  Act  of  August  24,  1912,  embodied  in  section  443, 
Postal  Laws  and  Regulations,  printed  on  the  reverse  of  this  form, 
to  wit:  1.  That  the  names  and  addresses  of  the  publisher,  editor, 
managing  editor,  and  business  managers  are:  Publisher  BREW- 
STER PUBLICATIONS,  INC.,  175  DUFFIELD  ST..  BROOKLYN, 
N.  Y.  Editor  ELSIE  SEELIGMAN,  175  DUFFIELD  ST., 
BROOKLYN.  N.  Y.  Managing  Editor.  ADELE  WHITELY 
FLETCHER.  175  DUFFIELD  ST.,  BROOKLYN,  N.  Y.  Business 
Manager,  GUY  L.  HARRINGTON,  175  DUFFIELD  ST..  BROOK- 
LYN, N.  Y.  2.  That  the  owners  are:  (Give  names  and  addresses 
of  individual  owners,  or,  if  a  corporation,  give  its  name  and  the 
names  and  addresses  of  stockholders  owning  or  holding  1  per 
cent  or  more  of  the  total  amount,  of  stock.)  EUGENE  V.  BREW- 
STER. 175  DUFFIELD  ST.,  BROOKLYN,  N.  Y.  CARLETON 
E.  BREWSTER,  BAYSHORE,  L.  I.,  N.  Y.  EDWARD  BRUE- 
STEL,  175  DUFFIELD  ST.,  BROOKLYN,  N.  Y.  3.  That  the 
known  bondholders,  mortgagees,  and  other  security  holders  own- 
ing or  holding  1  per  cent  or  more  of  total  amount  of  bonds,  mort- 
gages, or  other  securities  are:  (If  there  are  none,  so  state.) 
NONE.  4.  That  the  two  paragraphs  next  above,  giving  tho 
names  of  the  owners,  stockholders,  and  security  holders,  if  any, 
contain  not  only  the  list  of  stockholders  and  security  holders  as 
they  appear  upon  the  books  of  the  company  but  also,  in  cases 
where  the  stockholder  or  security  holder  appears  upon  the  books 
of  the  company  as  trustee  or  in  any  other  fiduciary  relation,  the 
name  of  the  person  or  corporation  for  whom  such  trustee  is  acting, 
is  given:  also  that  the  said  two  paragraphs  contain  statements 
embracing  affiant's  full  knowledge  and  belief  as  to  the  circum- 
stances and  conditions  under  which  stockholders  and  security 
holders  who  do  not  appear  upon  the  books  of  the  company  as 
trustees,  hold  stock  and  securities  in  a  capacity  other  than  that 
of  a  bona  fide  owner;  and  this  affiant  has  no  reason  to  believe 
that  any  other  person,  association,  or  corporation  has  any  interest 
direct  or  indirect  in  the  said  stock,  bonds,  or  other  securities  than 
as  so  stated  by  him.  5.  That  the  average  number  of  copies  of 
each  issue  of  this  publication  sold  or  distributed,  through  the 
mails  or  otherwise,  to  paid  subscribers  during  the  six  months 
preceeding  the  date  shown  above  is  .  .  .  (This  information  is  re- 
quired from  daily  publications  only.)  EUGENE  V.  BREWSTER. 
(Signature  of  editor,  publisher,  business  manager,  or  owner.) 
Sworn  to  and  subscribed  before  me  this  2nd  day  of  OCTOBER. 
1922.  E.  M.  HEINEMANN.  (My  commission  expires  March  30, 
1924.) 


Page  Seventy-Five 


SuiADOWLAND 


COSMETICS 

Successfully  Applied  Do  Not  Appear  as 

'•Make  Up."     Heed  Our  Suggestions  and 

Use  Preparations  of  Purity  and  Worth 

Impressions    Are    Lasting 

Look  Your  Best  at  All  Times 

Infinite  pains  have  been  taken  by  Miss 
Palmer  to  perfect  these  preparations  as 
to  ingredients,  which  are  of  the  best. 
Miss  Palmer  personally  supervises  the 
making  of  all  her  preparations  and  never 
allows  any  article  to  leave  the  laboratory 
without  a  long  trial  of  it  by  herself. 
She  is  a  severe  critic  on  the  art  of  make- 
up and  insists  that  by  clever  use  of  her 
preparations  a  person  shall  not  appear 
"made-up,"  but  bring  out  the  beauty  and 
hide   the  blemishes. 

We  enclose  directions  written  person- 
ally by  Miss  Palmer.  You  cannot  go 
wrong  if  her  words   are   heeded. 

A  Special  Word  Must  Be  Said 

of  Our  Creams — They  Are 
Exquisite  and  Without  Equal 

CORLISS  PALMER  FACE 
POWDER     $1.00 

CORLISS  PALMER  FOUNDA- 
TION CREAM— A  heavy,  flesh- 
color  cream  that  will  hide  all 
blemishes  and  make  the  powder 
stick  on  as  will  nothing  else.  To 
cover  a  pimple,  or  a  red  nose,  or 
the  whole  face  for  an  all-day 
make-up,  there  is  nothing  like  it.  .      .50 

CORLISS  PALMER  FACE 
ROUGE     50 

CORLISS  PALMER  LIP  ROUGE     .50 

THE  FOUR,  attractively  boxed  in 
set    2.50 

CORLISS  PALMER  VANISHING 
CREAM — A  light,  dry  cream  of 
purity,  to  be  used  in  the  morning, 
or  at  any  time,  to  freshen  the  skin 
and  make  a  foundation  for  the 
face  powder    75 

CORLISS  PALMER  CLEANS- 
ING OR  NIGHT  CREAM  — A 
heavier  cream,  to  cleanse  the  face 
at  night  and  to  soften  and  beautify 
the  skin    75 

CORLISS  PALMER  LEMON 
CREAM — An  exquisite  cream  of 
even  texture,  purity  and  loveli- 
ness. For  general  use  on  the  face 
and  body    75 

THE  THREE,  attractively  boxed 
in    set 2.25 

CORLISS  PALMER  BEAUTI- 
FIER— A  lotion  of  the  finest 
quality,  for  those  who  do  not  care 
for  creams  as  a  cleanser.  An 
absolute  corrector  of  an  oily  com- 
plexion, a  bleacher,  an  astringent, 
healer  of  blemishes,  and  a  very 
great  enemy  of  wrinkles 60 

We  Guarantee  our 
Preparations  to  Be  Harmless 

We  will  mail,  postpaid,  any  of  the 
above  preparations  on  receipt  of  price  in 
stamps,  cash,  or  money  order.  (In  mail- 
ing coins,  wrap  them  carefully  to  prevent 
them  cutting  a  hole  in  your  envelope.) 

Corliss  Palmer  Preparations 

RICHARD  WALLACE 
BROOKLYN,  N.  Y. 


The  Wayward  Poet  of  England 


(Continued  from  page  33) 


ii.  love  with  her  body,  her  mind,  and  her  soul. 
From  that  first  memorable  evening  the  figure 
of  this  child  lodged  itself  forever  in  his  brain. 
Night  after  night  he  visited  the  place,  sitting 
quietly  at  a  corner  table  till  the  guests  had 
gone  and  he  could  arrange  the  cards  that  they 
used  to  play  together.  She  represented  for  him 
the  very  incarnation  of  that  romance  for  which 
his  soul  had  hungered.  It  was  a  strange  irony ! 
He,  the  disenchanted  one,  in  order  to  outrage 
his  most  secret  soul,  had  fled  to  the  foul  and  the 
ugly ;  and  lo !  there,  like  a  flower  come  upon 
suddenly  in  a  back  yard,  like  a  poppy  in  a  sandy 
desert,  he  had  found  that  which  completely 
satisfied  his  craving  for  beauty.  Frank  Harris 
and  others  tried  to  reason  with  him.  Why  pour 
the  treasure  of  his  heart  at  the  feet  of  a  minx 
so  unworthy?  They  were  probably  perfectly 
right,  for  the  girl,  after  Dowson  had  courted 
her  for  two  years,  elected  to  marry  a  waiter 
in  his  stead. 

For  the  rest  of  his  life,  as  often  as  he  was 
sober,  Dowson  spent  his  time  in  writing  verse, 
charged  with  a  poignant  consciousness  of  the 
transitory  nature  of  all  mortal  things.  "Then 
he  drank  opaline.  Memories  and  terrors  be- 
set him.  The  past  tore  after  him  like  a  panther 
and  thru  the  blackness  of  the  present  he  saw  the 
luminous  tiger  eyes  of  the  things  to  be.  But  he 
drank  opaline." 

The  wnsdom    of  the  zvorld  said  unto   me: 
"Go   forth  and  run,   the   race   is   to    the 
brave: 

Perchance  some  honour  tarrieth  for  thee!" 
"As  tarrieth,"  I  said,  "for  sure  the  grave." 

Weary  of  the  emphatic  reasonable  light  of 
the  sun,  he  indulged,  more  than  ever,  his  taste 
for  all  things  that  were  moonstruck.  Perhaps 
he  was  born  for  an  earth  over  which  no  lumi- 
nary more  brilliant  than  that  of  the  sweet  moon 
or  the  "estranged  stars"  ever  rose.  The  moon ! 
His  imagination  had  ever  been  caressed  by  its 
silver  magical  shine  as  it  fell  upon  the  correct 
terraces,  the  elegant  statuary,  the  •  artificial 
borders  of  punctilious  walled-in  gardens. 

Lunar  roses  pale  and  blue 

Lilies  of  the  world  beneath. 

In  the  Pierrot  of  the  Minute  we  are  exactly 
put  in  touch  with  this  delicate  and  chastened 
mood  of  his.  There  in  the  Pare  du  Petit 
Trianon  he  approaches  a  Doric  temple  under 
the  faint  grey  shadows  of  which  mortal  men 
"Forthwith  forget  all  joyance  of  the  day!" 
With  an  expression  "puzzled  and  petulant"  he 
waits  for  his  immortal  maiden,  coquets  and 
dallies  daintily  with  her  "Until  bird's  twitter 
beckons  me  away."  The  scene  is  most  ex- 
quisitely rendered.  One  can  almost  hear  as  one 
reads  its  fastidious  lines,  mingled  with  the 
"white  music,"  the  flittering  sound  of  the  velvet- 
soft  wings  of  the  damask  moths,  who,  awake 
under  that  "ruinous  moon,"  sip  their  sweet  sus- 
tenance from  many  a  curled  and  trumpet- 
shaped  blossom. 

Moon-kissed  mortals  seek  in  vain 

To  possess  their  hearts  again! 

Hoiv  ivan  and  pale  do   moon-kissed  roses 
grow 

And  I  went  reading  in  that  rune  of  roses 

Which   to  her  votaries  the  moon  discloses. 

But  tho  Ernest  Dowson  could  escape  the  bold 
unequivocal  rays  of  the  sun  in  imaginative 
poetry,  in  actual  life  it  was  different.  Each 
morning  he  looked  out  upon  a  world  which  lay 
strident  and  complacent  under  its  hard  light. 
He  sought  escape  in  dissipation.  "II  faut  Shy 
toujours  -U7i  pen  ivre."  He  tried  to  drown  his 
memories  in  bawdy  houses  and  taverns.  But 
ever  as  the  shouts  of  the  merrymakers  grew 
loudest  the  slender  girlish  figure  of  his  lost 
love  made  his  heart  falter. 

/  cried  for  madder  music  and  for  stronger 
wine, 

But  when  the  feast  is  finished  and  the  lamps 
expire, 

Then  falls  thy  shadow,  Cynara!  the  night 
is  thine; 

And    I   am    desolate    and   sick    of   an    old 
passion. 

Yea,  hungry  for  the  lips  of  my  desire: 

I  have  been  faithful  to  thee,  Cynara!  in  my 
fashion. 


And  then  remorse  would  follow  and  this  ex- 
traordinary boy  would  turn  to  religion.  But  it 
was  before  no  ordinary  Saint  that  he  bent  his 
knee.  In  a  side  chapel  of  the  church  of  Arques 
was  the  figure  of  a  holy  martyred  virgin,  rep- 
resented as  wearing  a  beard,  and  it  was  here, 
before  this  bearded  icon  that  the  perverted 
spirit  of  Ernest  Dowson  spent  long  hours  in 
adoration  and  prayer. 

Indeed,  his  neuroticism  had  now  become  ex- 
aggerated almost  to  madness.  He  grew  to  fear 
the  very  room  in  which  he  lived,  hardly  daring 
to  enter  it,  to  fear  the  very  statues  on  the 
mantelpiece  lest  they  should  come  to  life  in 
the  night   time  and  strangle   him ! 

It  was  during  this  period  that  he  wrote  cer- 
tain short  fragments  of  prose  in  a  singular  and 
choice  style  peculiarly  his  own.  Here  is  a 
description  of  the  sea  coast  of  France  from 
The  Dying  of  Francis  Donne. 

"It  was  brilliant  with  the  promise  of  summer, 
and  the  blue  Atlantic,  which  in  winter  churned 
with  its  long  crested  waves  so  boisterously  be- 
low the  little  white  lighthouse,  which  warned 
mariners  (alas!  so  vainly)  against  the  shark- 
like cruelty  of  the  rocks,  now  danced  and 
glittered  in  the  sunshine,  rippled  with  feline 
caresses  round  the  hulls  of  the  fishing-boats 
whose  brown  sails  floated  so  idly  in  the  faint 
air." 

By  the  year  1899  he  was  back  in  England 
living  in  extreme  poverty  in  London.  His  con- 
sumption grew  so  much  worse  that  he  was 
hardly  able  to  leave  the  sordid  room  of  his 
lodging-house,  the  rent  for  which  he  was  unable 
to  pay.  He  was  too  proud  to  let  his  friends  or 
his  relations  know  of  his  desperate  straits. 

Fortunately  Robert  Harborough  Sherard, 
Oscar  Wilde's  friend  and  biographer,  heard  of 
his  plight,  and  tho  at  that  time  he  was  himself 
in  the  greatest  financial  difficulties,  had  him 
conveyed  to  his  cottage  at  Catford.  It  was 
here  that  Dowson  spent  the  last  few  weeks  of 
his  life.  He  never  went  out  of  doors.  All  day 
long  he  read  and  talked  and  coughed  in  a  small 
room,  the  window  of  which  looked  out  upon  a 
suburban  meadow.  He  refused  to  see  a  doctor, 
instead  he  would  send  Sherard  to  the  village 
chemist,  with  prescriptions  for  the  cure  of  con- 
sumption culled  from  a  volume  of  Health  in  the 
Home. 

On  Thursday  night,  February  22,  1900,  the 
two  friends  stayed  up  talking  till  five  o'clock  in 
the  morning.  Dowson  was  in  good  spirits,  and 
full  of  plans  for  the  future.  Then  as  the  grey 
cock  crew  he  called  for  a  glass  of  Gilby's  port, 
the  only  wine  that  was  in  the  house,  drank  a 
glass  of  it,  coughed,  and  fell  back  dead. 

Upon  those  eyes,  which  for  thirty  years  had 
looked  out  upon  a  world  so  different  from  the 
"pale  amber"  one  they  had  desired,  were  now 
placed  two  large  silver  coins.  Before  he  was 
buried  however,  the  old  woman,  whose  business 
it  had  been  to  lay  him  out,  with  "that  egotistic 
assertion  of  life  in  the  presence  of  the  dead — 
the  poor  irremediable  dead !"  had  spent  the 
money   at   a   neighboring   ale-house. 

Would  Ernest  Dowson  have  resented  such  a 
sacrilege?     I  think  not. 


mnmiTiMiMiMiiiiiiiimlitimii) 


The  Father  of  Pictorial 
Photography 

(Continued  from  page  43) 

John  Gibson,  Lockhart  (Sir  Walter  Scott's 
son-in-law  and  biographer),  William  Etty,  the 
painter,  and   Mrs.  Jameson,  the  novelist. 

The  late  J.  M.  Gray,  curator  of  the  National 
Portrait  Gallery  of  Scotland,  put  himself  on 
record  as  saying  about  Hill's  work  that  his 
photographs  "resembled  nothing  so  much  as 
powerful  mezzotints  printed  in  warm-colored 
ink."  There  is  the  same  broad  and  effective 
distribution  of  lighting,  the  same  care  for  com- 
position and  the  suppression  of  irrelevant  de- 
tails, and  that  pleasant  dead  surface — delicate 
in  the  light  portions  and  rich  and  blooming  in 
the  shadows — which  is  obtained  in  such  en- 
gravings. 


Page  Seventy-Six 


SUADOWLAND 


iiiiniiiiiiiiiiiiiiiiiitiiliiliiiiniiiliililiiliiliiiniiiiiiiiiiiiiiiiiiiMiMiiiiiiiiliiiiiiiiiiiiiiiiiiiniiiiiiiniMM 

Important  Features 
In  the  JANUARY  number  of     \ 

ShUDOWkAND   ( 


The    Buffoon    Ballet    of    Lar- 
IONOW Barrett    H.    Clark 

An   illustrated   story  of  the  most  extraor- 
dinary ballet   ever  staged 


The  Whisperers 

Guy    Pene    du    Bois 

Three   painters    who   have   been   inspired 
by  the  spirit  of  New  England 

"Ah,  Italy,  Thy  Fatal  Beauty" 

Two  pages  of  cartoons  by  the  inimitable 
Wynn 


Portrait  of  a  Woman  of  Forty 
Helen    Woljeska 

A  clever  word-picture  of  a  very  modern 
woman 

The  World's  Greatest  Failures 
Maurice  S.   Sullivan 

An    amusing    article    about    the    discon- 
tented   famous,    with    cartoons    by    Kelly 


In  addition  there  will  be 
a  satirical  article  by  Ben- 
jamin De  Casseres;  Bur- 
ton Rascoe  will  discuss 
the  new  books;  Kenneth 
M a  c g  ow an  the  new 
plays;  Jerome  Hart  the 
recent  developments  in 
opera;  and  the  pictorial 
features  will  be  of  excep- 
tional beauty  and  interest. 


Shadowland 


{IIMIIIIMIIIIMinMIIlllll'lllllllTllililIIMIIIIMIlllMlllllIIIMIIlllllllllllMIIIIIIIIIIHIIIIMKIIIIMIIIIIIIIIIMIIIT 


Wanderings 

(Continued  from  page  63) 

Gabriel  should  not  permit  it  to  master  him.  He 
can  now  afford  to  think  less  of  the  manner  of 
his  writing  than  its  matter,  and  above  all  he 
should  make  a  serious  study  of  the  art  which 
he  criticizes  with  more  or  less  good  judgment. 
That  was  where  Huneker  towered  above  his 
colleagues — he  was  a  practical,  thoroly  well- 
grounded  musician  as  well  as  an  accomplished 
writer. 

*  *       * 

No  one  was  greeted  with  greater  cordiality 
by  his  colleagues  than  Norman  Mason,  who 
was  acting  temporarily  as  music  critic  of  the 
Brooklyn  Eagle,  which  has  also  added  the  dis- 
tinguished artist  and  writer  Joseph  Pennell 
to  its  staff.  Handsome  and  happy  Norman  is 
a  trained  musician,  who  studied  singing  in 
Italy,  where  he  developed  a  very  pretty  tenor 
voice.  But  his  inclinations  were  toward 
another  art,  painting,  which  he  studied  in  Paris, 
where  he  has  exhibited  at  the  Salon.  His 
portraits  are  also  seen  at  leading  New  York 
exhibitions,  while  he  writes  about  music  as  well 
as  art  in  an  informed  and  interesting  manner. 
He  is  a  worthy  addition  to  the  critics'  circle. 

*  *      * 

It  was  good  to  see  Harry  Osgood,  who  was 
just  back  from  Germany,  where  he  interviewed 
Richard  Strauss  in  the  companionship  of 
Deems  Taylor,  and  thus  enabled  the  latter,  who 
does  not  speak  German,  to  write  an  article 
around  the  eminent  composer  for  The  World. 
That  is  the  sort  of  good  turn  Harry  Osgood 
is  always  ready  to  do  for  a  colleague.  He  is 
becoming  quite  a  prolific  and  successful  com- 
poser, and  his  latest  composition,  Heaven  at 
the  End  of  the  Road,  is  proving  a  best  seller. 

*  *       * 

Horace  Liveright  gave  me  the  first  copy  of 
Ben  Hecht's  Gargoyles,  hot  from  the  press, 
when  I  happened  to  be  in  his  sanctum.  To 
speak  frankly,  it  is  a  very  Ben  Hechtic  book, 
and  I  do  not  like  it  at  all,  nor  do  I  think  it 
clever.  I  have  rarely  come  across  such  an 
entirely  unpleasant  lot  of  people  in  the  pages 
of  one  volume,  and  I  heartily  agree  with  every 
word  which  that  brilliant  reviewer  Mrs.  N.  P. 
Dawson,  of   The  Globe,  has  said  about  it. 

*  *      * 

But  Boni  and  Liveright  publish  many  more 
good  books  than  bad,  and  one  must  regard 
Gargoyles  as  a  temporary  aberration  like  that 
horrific  work  by  Evelyn  Scott,  The  Narrozv 
House.  Horace  Liveright  has  done  some  fine 
work  as  a  publisher  since  he  has  been  the  sole 
guiding  hand  of  his  firm.  He  has  to  his  credit 
a  hundred  volumes  or  so  of  The  Modern 
Library,  one  of  the  best  cheap  editions  of 
classic  works  in  existence ;  he  gave  Hendrik 
Willem  Van  Loon  a  chance  when  half  a  dozen 
other  publishers  had  turned  down  The  Story  of 
Mankind,  of  which  Horace  Liveright  expects 
to  have  sold  one  hundred  thousand  copies  by 
the  end  of  the  year ;  he  discovered  Rose 
Macaulay,  the  brilliant  author  of  Potterism 
and  Dangerous  Ages,  whose  new  novel,  Mystery 
at  Geneva,  is  eagerly  anticipated ;  and  he  is 
about  to  include  Gertrude  Atherton  in  his  list 
of  authors.  Besides,  he  has  published  Eugene 
O'Neill's  plays,  Molnar's  Liliom,  an  edition  of 
George  Moore,  and  that  brilliant  work,  Up 
Stream,  by  Ludwig  Lewisohn.  Many  more 
could  be  mentioned,  but  this  record  is  sufficient. 

*  *       * 

So  one  can  forgive  Horace  Liveright  for 
having  been  hospitable  to  Ben  Hecht,  Theodore 
Dreiser,  Upton  Sinclair,  Mrs.  Scott,  and  a  few 
other  abnormal  writers.  I  congratulate  him 
cordially  on  the  result  of  the  action  brought 
against  him  by  a  certain  Mr.  Sumner,  of  the 
New  York  Society  for  the  Suppression  of 
Vice.  The  charge  had  to  do  with  the  publica- 
tion of  the  Satyricon  by  Petronius  Arbiter,  a 
work  which  we  used  to  translate  in  the  sixth 
form  of  Winchester  College  together  with 
Ovid's  Metamorphoses  and  Ars  Anwris.  The 
charge  against  Horace  Liveright  of  having  done 
something  in  this  connection  which  was  contra 
bonos  mores  was  dismissed  by  Magistrate 
Oberwager  in  one  of  the  best  reasoned  literary 
judgments  it  has  been  my  pleasure  to  read. 


You  Can  Raise  Your 
Income  $50  a  Month 


For  fifteen 
years,  Mr.  H. 
O.  Shep  a  rd, 
the  man  whose 
picture  you  seej 
opposite,  has 
been  demon- 
strating that 
real  money 
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through  the  plan  which  we 
now  offer  readers  of  this  maga- 
zine. Read  what  he  has  to  say 
about  it. 

"My  experience  teaches  me  that  if 
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line,  as  you  would  be  compelled  to 
work  in  order  to  succeed  in  any  other 
business,  you  cannot  help  but  win. 
And  right  now  I  consider  the  very 
best  time  of  any,  during  the  past 
eight  years,   to   start." 

Mr.  Shepard  is  a  representa- 
tive of  the  Brewster  Publica- 
tions. His  work  is  collecting 
renewals  and  soliciting  new 
subscriptions  for  our  four  well- 
known  and  popular  magazines. 
Having  unlimited  territory 
and  a  proposition  where  his 
earnings  depend  on  his  own 
success,  he  enjoys  the  enviable 
position  of  being  his  own 
"boss"  and  absolute  master  of 
his  own  income. 

SparetimeorFulltime 

If  you  are  a  man  and  now  hold  a  reg- 
ular position,  you  can  hold  that  position 
and  still  enter  the  Magazine  Business, 
working  for  us  on  a  spare  time  basis. 
By  devoting  only  a  few  hours  each  day 
to  our  work,  you  should  easily  increase 
your  income  by  at  least  $50  a  month. 

If  you  are  a  woman  and  have  a  need 
for  more  money,  you,  too,  can  get  it 
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It  is  work  that  all  can  quickly  learn  to 
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Send  us  the  coupon  Delow  for  full  par- 
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BREWSTER  PUBLICATIONS,   Inc., 
175  Duffield  Street,  Brooklyn,  N.  Y., 
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I    am    interested    in   your    money-making    plan. 
Please  send  me  particulars  at  once. 

Name 

St.  and  No 

City State 


Page  Seventy-Seven 


Sl-IADOWLAND 


Why  Dont  You  Buy 

Q^vssic 

The  Picture  Book  De  Luxe 
of  the  Movie  World 


The  January  number  answers 
"Yes"  to  the  three  questions 
any  intelligent  person  asks 
when  he  buys  a  magazine: 

Will  its  reading  matter   enter- 
tain me? 

Will  its  departments  teach  me 
anything  ? 

Will  its  pictures  please  me? 

Perhaps  the  best  articles  in 
the  January  number  are  "Cos- 
tuming the  Silent  Drama,"  by 
Maude  Cheatham,  and 
"Eastern  Magic,"  by  Willard 
Huntington  Wright.  Follow- 
ing these  comes  "Famous  Car- 
mens."  And  dont  overlook 
that  amusing  interview  by 
Regina  Cannon,  "Will  Nita 
Naldi  'April  Fool'  the  Movie 
Directors?" 

The  departments  are  full  of 
surprises.  You'll  get  the  very 
latest  news  of  the  stars  and 
the  studios.  "The  Darkest 
Hour"  is  given  over  to  two 
stars  whom  you  would  believe 
never  have  had  a  dark  mo- 
ment. "Iris  In"  is  exception- 
ally smart. 

The  pictorial  features  are 
superb.  Double  spreads,  full- 
page  camera  studies,  and 
"The  Photographer  Takes  the 

Stage,"  our  new  department 
of  pictures  from  popular 
plays  on  Broadway,  is  to 
cover  four  pages  instead  of 
two  —  this  in  response  to 
urgent  requests  from  our 
readers. 


The  Play,  the  Part,  and  the  Time 


{Continued  from  page  57) 


funny  side  of  people's  faces  and  dress,  and  I 
just  naturally  set  down  on  paper  what  I  saw. 
No,  you  cant  see  them,"  she  laughed. 

"Now,  what's  an  interview  without  a  little 
talk  about  Ibsen,  Shakespeare,  Barrie  and 
Maeterlinck — " 

Shakespeare,  no.  But  the  word  "Ibsen" 
electrified  Miss  Fisher. 

"I  dream  some  day  of  doing  all  of  Ibsen. 
Ambitious,  isn't  it?  I  believe  that  Ibsen  at- 
tracts more  women  than  men.  He  understood 
women  as  no  dramatist  has  ever  done.  He  was 
the  first  great  psycho-analyst  of  woman.  He 
put  her  complexities,  her  mysticism,  her  in- 
curable romanticism,  her  rebellious  nature,  her 
gipsy  heart  on  the  stage. 

"I  have  felt  that  the  most  ecstatic  moment  of 
my  career  would  be  at  the  moment  when  I 
walk  on  the  stage  as  Nora  Helmer,  Hilda 
Wangel  or  Hedda  Gabler.  Probably  every 
serious  actress  has  that  dream.  We  look  at 
Ibsen  as  the  knight-errant  of  our  sex." 

And  yet,  while  I  gained  the  impression  that 
Miss  Fisher  was  intellectual,  she  is  not  at  all 
of  the  cerebral  type.  She  is  profoundly 
feminine — but  what  does  that  mean?  Many  a 
Hedda  Gabler  beats  beneath  a  soft  brown  eye  1 

"And  you  mentioned  Barrie,"  she  ran  on. 
"Another  one  of  my  gods.  To  me  Mary  Rose 
is  the  greatest  of  his  plays.  I  would  rather  do 
that  part  than  Ophelia  or  Desdemona.  You  see, 
I'm  a  heretic." 

"Tell  me  something  about  the  psychology  of 
audiences." 

"I  never  see  individuals  in  the  audience.  I 
look  on  the  house  as  one  person.  It  is  like  a 
potted   plant  with  many  leaves." 


At  her  own  idea  of  the  audience  being  a 
potted  plant  she  burst  into  a  laugh,  the  vibra- 
tions of  which  jarred  some  of  the  petals  from 
the  roses  over  her  head.  They  fell  softly  on 
her  golden  hair,  making  a  lovely  picture.  I 
had  to  put  a  brake  on  my  sentimental  complex. 

"When  I  was  acting  with  Ethel  Barrymore,"' 
continued  Miss  Fisher,  "I  was  astonished  at 
the  way  she  could  pick  individuals  out  of  the 
audience.  Back  stage  she  would  say  to  me, 
'So-and-so  is  sitting  in  the  sixth  row,  and  there 
is  So-and-so  in  the  second  row  of  the  balcony.' 
As  a  matter  of  fact — " 

But  at  this  moment  my  Japanese  walking- 
stick  attracted  her  eye. 

"Japan !"  she  exclaimed.  "Another  one  of 
my  ambitions.  I  want  to  go  to  Japan.  I  am  in 
love  with  everything  Japanese." 

She  took  down  from  her  mirror  a  caricature 
of  a  horse  made  out  of  catgut. 

"That  was  done  by  a  Japanese  artist  who 
presented  it  to  me.  They  do  curious  things 
oyer  there.  Why  didn't  I  go  to  Japan  instead 
of  London !" 

"How  would  you  like  to  see,"  I  interjected, 
"your  name  in  electric  lights  billed  as  Hilda 
Wangel  in  front  of  a  theater  in  Tokio?" 

"Too  good  to  be  true !"  she  cried,  clapping 
her   hands,   childlike. 

The  clock  intoned  half  past  one.  It  was 
time  to  make  up  for  Charlotte,  and  to  prepare 
to  wait  up   for   her   baccarat-playing   husband. 

"I'll  be  in  Morocco  in  an  hour,"  she  said  as 
she  clasped  my  hand. 

A  clear-headed  young  woman,  I  thought,  as 
I  vanished  into  Forty-second  Street ;  one  who 
will  succeed  because  she  knows  that  all  real 
work  is  just  play. 


iimiiilMmiimmmiMiiiiiiiiiiiHiiiiiimmiiiminmminiimiiiii 


Charles  Demuth 

{Continued  from   page    11) 


who  brought  to  his  classes  the  rigid  discipline 
requisite  to  painting,  and  who  taught  the  prin- 
ciples of  good  drawing  without  academizing 
them.  The  second  influence  which  he  counts 
significant  is  his  association  with  Alfred 
Stieglitz.  In  the  old  days  when  "291"  was 
alive  and  riotous  with  ideas,  when  anyone  with 
enthusiasm  and  conviction  could  get  a  hearing, 
the  spirit  of  Stieglitz  was  predominant ;  and  the 
young  men  who  looked  upon  him  then  as  the 
champion  of  Modernism  in  America  respect 
him  tcday  as  the  foe  of  commercialism  and 
convention. 

Mr.  Demuth  is  a  familiar  figure  in  the  art 
life  of  Paris  where  he  has  lived,  at  intervals, 
for  a  number  of  years ;  and  his  individual  ex- 
hibitions in  this  country  and  his  frequent  con- 
tributions to  the  art  of  the  later  tendencies  are 
too  numerous  to  be  mentioned  here.  During 
the  present  year  a  severe  illness  threatened  to 
put  an  end  to  his  painting,  but  I  am  happy  to 
report  that  he  is  now  able  to  paint  again. 

Roughly  speaking,  his  art  may  be  divided 
into  two  classes :  the  first,  a  satirical  Impres- 
sionism ;  the  second,  a  modification  of  Cubism 
which  is  texturally  allied  with  a  more  academic 
post-Renaissance  tradition.  His  water-colors 
are  exquisite  and  inimitable,  and  with  those  of 
John  Marin  rank  with  the  best  that  America 
has  produced.  He  uses  the  medium  with  ex- 
treme fluidity,  taking  advantage  of  all  its 
subtitles  and  achieving  a  range  of  tonal  trans- 
parencies which  are  beautifully  clean  and 
precise.  And  at  the  same  time  he  is  conscious 
that  a  picture  should  be  of  a  piece  and  not  a 
collection  of  delicate  splashes.  Two  years  ago, 
in  Paris,  he  executed  a  series  of  circus  scenes 
and  vaudeville  phantasies,  and  during  the  same 
period   exhibited    a   group   of    illustrations    for 


stories  by  Henry  James  and  Zola.  I  invite 
those  critics  who  are  persuaded  that  modern 
painting  has  ruled  the  representative  out  of 
art  to  take  a  look  at  these  water-colors.  The 
vaudeville  Caprices  are  tinged  with  genuine 
satire,  and  the  illustrations  are  conceived  in 
the  true  fictional  spirit,  but  all  the  same  the 
pictures  are  held  together  by  an  impeccable 
artistry. 

Cubism,  which  arose  from  an  enlargement  of 
Cezanne's  geometrical  planes,  and  which  was, 
by  virtue  of  its  reason  for  existence,  admirably 
adapted  to  emphasize  a  tri-dimensional  order, 
has,  by  a  continual  process  of  extension,  given 
rise  to  a  decorative  art  in  two  planes.  Such 
a  statement  seems  paradoxical,  but  reflection 
will  show  how  obvious  and  natural  this  evolu- 
tion has  been.  The  three  visible  planes  of  a 
cube  when  projected  beyond  the  limits  of  vision, 
that  is,  to  the  frame  of  the  canvas,  cease  to 
function  as  indications  of  solidity  and  become 
simply  three  flat  tones.  In  this  process  is  to 
be  found  the  source  of  Mr.  Demuth's  flat  and 
semi- abstract  architecture.  In  his  later  work 
he  has  composed  structures  recognizable  as 
churches,  mills  and  barns ;  and  so  delicately 
balanced  are  the  rectilinear  forms  of  these 
buildings  that  the  withdrawal  of  a  single  unit 
would  cause  the  structure  to  collapse. 

His  art  is  decorative  in  the  sense  that  it  is 
opposed  to  the  sinewy  bulk  of  the  modern 
realist  who  strives  for  solidity  and  depth. 
But  it  is  none  the  less  valid  and  beautiful.  His 
flower  pieces  are  painted  with  a  photographic 
perfection  of  values,  and  a  remarkable  variety 
of  tone-contrasts  and  textural  distinctions.  Mr. 
Demuth's  work  is  refined  and  fragile — it  seldom 
fails  to  charm  us  with  a  quality  that  relates  to 
the  old  art  of  China, 


Page  Seventy-Eight 


DONT  LOOK  LIKE  A  PAINTING! 


Use  a  powder  that  is 
individual  in  color  and 
quality  and  prove  that 
beauty  is  yours. 

We  recommend  this 
powder  to  you !  You — 
who  love  the  beautiful! 

One  shade — the  peach- 
bloom — has  proven  un- 
equalled in  day  attire, 
evening  dress  and  be- 
fore the  camera. 

Wonderful   as   to   its 
even  texture,  lovely  in 
its  Fragrance  and  unus 
ual  in  its  sticking  qual- 
ity. 

Be  natural  —  use  the 
shade'  of  powder  to 
blend  with  the  flesh 
color  of  nature. 


Extract  from 

MOTION  PICTURE 
MAGAZINE 

I  have  tried  about  every  powder 
on  the  market  and  have  done  con- 
siderable experimenting  on  myself 
and  on  others.  There  is  no  de- 
nying that  there  are  several  very 
fine  powders  on  the  market,  but  T 
felt  that  none  just  suited  me,  and 
so  I  determined  to  make  one  that 
did.  You  see,  in  the  first  place, 
T  had  some  very  peculiar  ideas 
about  the  complexion  and  was 
very  hard  to  please.  I  am  very 
particular  about  tints  and  stay- 
ing qualities,  and  I  want  a  pow- 
der that  does  not  look  like  pow- 
der, that  will  not  blow  oft*  in  the 
first  gust  of  wind,  that  is  not  too 
heavy  nor  too  light,  that  will  not 
injure  the  complexion,  and  that 
will  not  change  color  when  it 
becomes  moist  from  perspiration 
or  from  the  natural  oil  that 
comes  thru  the  pores  of  the  skin. 
I  also  like  a  pleasant  aroma  to 
my  powder,  and  one  that  lingers. 
After  experimenting  with  pow- 
dered starch,  French  chalk,  mag- 
nesia carbonate,  powdered  orris 
root,  rice  powder,  precipitated 
chalk,  zinc  oxide,  and  other 
chemicals,  and  after  consulting 
authorities  as  to  the  effects  of 
each  of  these  on  the  skin.  I 
finally  settled  on  a  formula  that 
has  been  tried  out  undeer  all 
conditions  and  that  suits  me  to 
a  nicety.  And,  most  important 
of  all,  perhaps,  this  powder  when 
finally  perfected  had  the  remark- 
able quality  of  being  equally  good 
for  the  street,  for  evening  dress 
and  for  motion  picture  make-up. 
I  use  the  same  powder  before  the 
camera  for  exteriors  and  interi- 
ors, and  for  daily  use  in  real  life. 
So  do  many  of  my  friends,  and 
they  all  tell  me  that  they  will  use 
no  other  so  long  as  they  can  get 
mine.  As  to  the  tint,  it  is  a 
mixture  of  many  colors.  1 
learned  from  an  artist  years  ago 
that  there  are  no  solid  flat  colors 
in  nature.  Look  carefully  at 
anything  you  choose  and  you  will 
see  every  color  of  the  rainbow  in 
it.  Take  a  square  inch  of  sky,  for 
instance,  and  examine  it  closely 
and  you  will  find  every  color 
there.  Just  so  with  the  face.  Any 
portrait  painter  will  tell  you  that 
he  uses  nearly  every  color  when 
painting  flesh.  Nothing  is  white 
— not  even  snow,  because  it  re- 
flects every  color  that  is  around 
it.  White  face  powder  is  absurd. 
While  is  not  a  color.  The  general 
tone  of  my  powder  is  something 
like  that  of  a  ripe  peach,  and  I 
therefore  call  it  "Corliss  Palmer 
Peach   Bloom   Powder." 


Corliss  Palmer  Powder 

Price  One  Dollar  the  Box 

A  written  description  is  useless — a  trial  proves  the  truth! 

Remember  that  we  have  the  exclusive  selling  rights  to  Corliss  Palmer  Powder. 
Send  a  dollar  bill  or  one-cent  or  two-cent  stamps  and  we  will  mail  you  a  box  of  this 
exquisite  powder. 

WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 


Cut  out  and  mail  today 

I    WILTON  CHEMICAL  CO. 

!                     BROOKLYN,  N.  Y. 

For    the    enclosed    One    Dollar    please    send    me 
;     CORLISS  PALMER  POWDER. 

\     N  ame    

a    box 

of    ; 

1 

1 

■     Street    

1 

1 

! 

Nothing  better  answers   the    perplexing   problem   of  the  "little"  gifts    than 

Colgate's  charming  toilet  articles.    Instead  of  being  quickly  tossed  to  one  side, 

a  Colgate  Gift  is  used  a  long  time  and  is  a  constant  reminder  of  the  giver. 

You  would  be  glad  to  receive  any  of  these — <why  not  give  them? 

Almost  any  woman  -  from   §bj&     Grandmother  to 
schoolgirl  -  will  welcome  a  H^l      dainty  box  of 
Talc—  Florient,  Cha  Ming,   a^v     La  France  Rpse, 
Cashmere  Bouquet  or  some  other  of  the  many  Colgate 
Talcs  *0£^  which  cost  "20 *and  25?^  To  delight  Mother, 
a  box  rf/JS|;7/   of  that  old-time  favorite  soap- Cashmere 

Brother  Ed 
Handy- Grip 


Bouquet^^^^  55^  <*>  For  Father  or  i 

a  real    ^P^present  is  a  Colgate's 

Shaving  Stick  and  two  Refills  -  a  year's  comfortable  shaving. 

Big  Sister  or  little  Sister  will  be  pleased  with 
one  of  these  very  beautiful  and  new  Compact 

Face  Powders  and  a -/^PIl      supply  of  Face 
Cream  -  Charmis(cold)  or  Ejjjypl-  Mirage  (vanishing). 
For  some  if     other  man's  gift  -  Colgate's    a      new 
product  -%jg^^  -  Rapid-  Shave  Cream.  ^  M    Any 
woman  will  thank  you,  for  a  pretty  bottle  of 
Florient  Extract ,        ^g^^^   an(^  Ribbon  Dental 
Cream  is  a  splendid  V^        gift  for  anyone. 

oAny  dealer  can  show  you  these  and  other  Colgate  Christmas  Qifts. 
COLGATE  8C  CO.  Est.  1806  NEW  YORK 


s  that  are  sure  to  please 


l~.       M     V 


JANUARY 


35^ 


EXPRESSING  THE  ARTS 


A   BREWSTER    PUBLICATION 


Are    You   Reading 

FEASTERS 

IN 
BABYLON 

that  absorbing  story  of  motion-picture 
studio  life  in  Hollywood  —  bristling 
with  tense  situations  —  packed  with 
exciting  thrills  —  a  hundred-percent 
story  that  excels  in  realism,  dramatic 
intensity,  and  romantic  charm 


Now  running  serially  in  the 

MOTION  PICTURE  MAGAZINE 

HPHE  heroines  were  introduced  to  you  in  the  December  number 
— the  fiery  seventeen-year-old  Lissa  and  her  gentle  sister  Mary, 
two  years  older.  You  read  of  their  departure  from  the  dull  home 
town  for  Hollywood — of  their  disappointments — of  their  try-out  as 
extras — of  the  dangers  that  Mary  feared  and  that  Lissa  challenged. 

In  the  January  number  the  Villain  is  almost  crowned  King — but 
Mary  outwits  him,  saves  her  irresponsible  young  sister,  and  is  given 
a  glimpse  of  the  hero,  Dermott  Trent. 

In  the  February  instalment  many  thrills  and  surprises  await  you: 
Mary's  desperate  resolve  for  the  sake  of  Lissa — the  frenzied  party  at 
the  villa  of  a  millionaire  roue — the  threat  of  the  younger  sister — the 
contempt  of  Dermott  Trent — Mary's  visit  to  the  House  of  Mystery. 


feLDC 


"A  man  has  but  one  moment  of  life  to  call  his  own. 

"Tlie  moment  just  passed  into  the  score  of  Time 's  cowit,  the  moment 
which  the  hand  of  the  clock  trembles  over,  a  hairs  breadth  yet  to  go  — 
these  are  no  man's  to  claim.  One  is  gone  forever;  the  other  may  mark 
the  passage  of  his  soul. 

"Only  this  7>iome)it,  this  throb  of  the  heart,  this  half-drawn  breath,  is 
a  living  mail's  to  claim.  The  beggar  has  it — the  monarch  can  command 
no  more." 


"yheValue  of 


CHIEF  train  dispatcher  for  the  world,  I  am  chief  life 
dispatcher  for  all  men. 

Fresh  minted  from  my  hand,  behold  a  New  Year  now 
spread  out  before  you. 

Half  a  million  golden  minutes — a  royal  treasure! 
Beware  lest  it  slip  away  through  careless  fingers. 

A  New  Year's  resolution?  Aye,  here  is  one.  Say  to 
yourself  every  morning  of  the  year,  "Today  I  will  make 
every  minute  count!" 

That  this  will  make  all  your  dreams  come  true,  who 
should  know  so  well  as  I  ? 

For  I  am  Father  Time. 


Page  Three 


SuADOWLAND 


Women  the  Greatest  Buyers 

in  the  World 


THERE  are  22,000,000  homes  in  the  United  States. 
The  women  who  buy  for  these  homes  spend  on  the 
average  $500  each,  or  a  total  of  $11,000,000,000,  each 
year.     That  is  more  than  $36,000,000  every  working  day. 
Every  year  it  amounts  to  half  as  much  as  America's  Liberty 
Bond  issue. 

Each  woman  is  a  part  of  this  army  of  buyers,  and  each, 
if  she  will,  may  be  guided  to  wise  and  economical  pur- 
chases if  she  will  but  make  up  her  mind  each  day  to  read 
as  many  as  she  can  of  the  advertisements  which  manufac- 
turers are  printing  for  her  benefit. 

The  advertising  in  every  newspaper  and  every  maga- 
zine is  a  buying  guide  for  this  greatest  buying  force  in  the 
world.  This  advertising  makes  it  safe  and  easy  for  every 
member  of  this  buying  army  to  make  her  purchases. 

It  establishes  in  her  mind  a  buying  habit  and  gives 
her  a  preference  of  one  brand  of  goods  to  another  or  an 
advertised  article  to  one  that  is  unknown. 

It  identifies  for  her  a  certain  product  as  being  standard, 
so  that  she  may  easily  dodge  the  wiles  of  sellers  who  try  to 
sell  something  that  is  not  so  good. 

It  fixes  merit  as  an  everlasting  adjunct  to  certain  articles. 

It  makes  her  know  that  the  manufacturer  who  is  proud 
of  his  product  and  jealous  of  his  reputation  and  character 
cannot  do  otherwise  than  make  his  product  at  least  as 
good  as  he  says  it  is. 

More  than  likely  it  is  better. 

Advertising  points  out  where  this  greatest  buyer  in  all 
the  world's  history  may  find  quality  goods  by  showing  her 
pictures  of  them  over  and  over  again  which  enables  her 
to  recognize  them  easily  and  quickly. 


t Published  by  SuiADOWlAND  in  co-operation  with"! 
The    American   Association    of    Advertising    AgenciesJ 


Page  Four 


•JAN  -2  1923       ©C1B567008 


-  \"3* 


Expressing-  the  Arts 


VOLUME  VII 


The  Magazine  of  Magazines 
JANUARY,  1923 

Cover  Design:  A  Winter  Idyl,  by  A.  71/.  Hopfmuller 

iimimimiiniiiiiimniiiiiimiiimutiiimmiimtiu 

Important  Features  in  This  Issue: 
JESTS  AND  VISIONS Benjamin  De  Casseres 

Men  and  affairs  subject  to  the  mercies  of  one  of  our  most  brilliant  satirists 

An  Experiment  in  Music  Culture Edward  Hung  erf  ord 

The   Eastman    School   of   Music,   its   educational   aspirations   and   its   wonderful   new   buildings 

The  Economies  of  Experiment Walter  Prichard  Eaton 

The  new  stagecraft  in  the  light  of  recent  striking   examples 

American  Civic  Opera Jerome  Hart 

The  reorganization  at  Chicago  that  has  brought  many  changes 

Litterateurs  of  Modernism Burton  Rascoe 

A  novelist  and  a  poet  who  chronicle  and   characterize   a   disenchanted   age 

Insects,  Actors,  and  Frankensteins Kenneth  Macgowan 

Broadway  sees  some  remarkable  heroes  in  some  still  more  remarkable  plays 

The  World's  Greatest  Failures Maurice  S.  Sullivan 

Many  of  whom  would  like,  with  old  Omar,  "to   grasp  this  sorry  scheme   of  things  entire  .  .  . 
and  then  remold  it  nearer  to  the  heart's  desire  ..." 

The  Buffoon  Ballet  of  Larionow Barrett  H.  Clark 

A   Russian   fable  transformed  into   a   glorified   absurdity 

Portrait  of  a  Woman  of  Forty Helen  Woljeska 

An  analysis  that  will  provoke  interest  and  comment 

Old  Laces  as  Collecting  Objects W .  G.  Bowdoin 


1 1 1 1 1 1 T 1 1  P 1 1 1  I  I  1 1 1  1 1 9  1 1 1 1  1 1  1 1 1  1 1 1 1  ]  1 1 1 1  1 1 1 1 1 1 1  1 1 1 1 1 1 1 1 1 1 1 1 T 1 1  [  I 


Published    Monthly  by   Brewster    Publications,   Inc.,    at    Jamaica,  N.  Y. 

Entered   at    the    Post    Office   at  Jamaica,    N.    Y.,   as   second-class    matter,    under    the    act    of    March    3rd,    1879. 

PRINTED    IN    U.    S.   A. 

Eugene    V.     Brewster,     President     and    Editor-in-Chief ;     Guy    L.     Harrington,     Vice-President    and    Business    Manager;     L,    G.    Conlon,     Treasurer; 

E.    M.    Heinemann,    Secretary 

EXECUTIVE   and   EDITORIAL   OFFICES,    175   DUFFIELD    STREET,    BROOKLYN,    N.    Y. 

Elsie    Seeligmann,    Editor 


Adele    Whitely    Fletcher,    Managing    Editor 


Jerome   Hart,   Associate  Editor 


Subscription  $3.50  per  year,  in  advance,  including  postage  in  the  U.  S.,  Cuba,    Mexico  and  Philippines;  in  Canada  $4.00,  and  in  foreign  countries,  $4.50  per 
year.     Single  copies,  35  cents.     Postage  prepaid.     One  and  two  cent  United    States   Government   stamps   accepted.      Subscribers    must   notify   us   at  once 

of    any    change    of    address,    giving   both    old   and    new    address. 

Copyright,    1923,     by   Brewster   Publications,    Inc.,   in    the   United  States   and   Great  Britain 


4&Z0Z£= 


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C^te^ezz^ 


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Page  Five 


F" 


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N   I    0 


~~J    ffirOBM 


'Dl^© 


TO  A  GUEST 

/  greet  you, 

Entertain    you, 

Am    even    gay    with    you, 

But  I  know  you 

As  I  do  deceit 

Hiding  behind  a  smile. 


COMEDY  AND  TRAGEDY 

As    the    clown 

Makes    grotesque     his    part 

To  win  the  crowd, 

So  have  I  seen 

A    mourner 

Make  ridiculous  his  grief 

To    impress   his   friends. 


THE  WIND 

The  ivind  is  spiked 

With   sunlight, 

Clearing    my    mind 

Of  thoughts 

That  cluster  about  one 

Who    cannot    tolerate 

Light 

And  the  open  spaces  .   . 


jmmf 


THEATER 

And   so    they    tremble 

In    the   wings  : 

Fear,  the  forerunner, 

And    Sorrow,     the    shadow, 

Of  the  tragedy 

Death. 


THE  POET 

The    poet    thought    Life 
Too   tawdry   at   close   range, 
So   decided   to    escape   it, 
That   he   might   see   it 
In    perspective  .   .   . 
He    had   not   figured 
On     obstruction. 


A  SONG  OF  HATE 

Oh,   busy   Whirl  of   Unimportant   Things, 

Creation  of  the  Devil, 

I   hate  you,  for  whenever  my   heart  sings 

You  try  so  hard 

To  crush  it  to  your  level! 


Page  Six 


*rrr$£ 


The  Stage  Setting  and  Costumes  from  the  Boudour  Ballet 

of  Norman -Bel  Geddes 

An  article  about  the  experiments  of  this  artist  in  stage-craft, 
light,  and  color,  appears  on  page  sixty-seven  of  this  number 


V 


'-  1 


iD 


The  reproductions  on  this  page  are 
from  the  yellow  sequence  of  the 
ballet.  The  painting  and  lighting  of 
this  scene  was  such  tlxat  it  changed 
from  cool  blues  and  greens  at  the 
beginning,  thru  yellows,  to  a  burn- 
ing orange  and  vermilion  at  the 
climax.  The  idol  is  made  of  layers  of 
white  wood  and  is  decorated  with  gold 


a 


m 


Courtesy  of  the  Babcock  Galleries 


GRACIA 

C.  Bosseron  Chambers  is  an  American  who  has  studied  in  Berlin  and 
Vienna.  He  is  best  known  as  a  portrait  painter,  and  many  of  his  canvases 
hang  in  the  rooms  of  the  Missouri  Historical  Society,  St.  Louis,  and  the 
Osceola  Club,  St.  Augustine,  Florida.  His  decoration  and  altar-pieces 
in  St.    Ignatius'    Church,    Chicago,    are   worthy    of   high   commendation 


NOCTURNE 


While  ivatching  modern  art  movements  with  an  attentive  and  not  unsympathetic 
eye,  Eugene  V.  Brewster's  tendencies  are  toward  the  methods  of  Corot  and 
Inness,  for  he  has  a  consuming  love  of  nature  and  its  moods,  and  he  aims 
at    simplicity,    sincerity,    romance,    and    beauty,    rather    than    sensationalism 


Courtesy  of  the  Bourgeois  Galleries 


MORNING 


Cubism  has  taught  Joseph  Stella  to  sub- 
ordinate his  ecstasies  to  a  rigid  design, 
and  in  some  of  his  recent  pictures  he 
has  contrived  a  hard  geometrical  scaf- 
folding to  support  his  exuberant  visions 


K-XP^B-SSON 


-TBiE-  AjgfS; 


Joseph  Stella 

A  Romantic  Decorator  Who  Exhorts  the  Artist  to  Derive 
His    Motif    from    His    Own    Life    and    Surroundings 

By  Thomas  Craven 


SINCE  Cezanne  turned  the  pictorial  vision  back  to 
the  fundamental  consideration  of  design,  art  has 
produced  an  extraordinary  variety  of  forms.  Fu- 
turism, a  sensational  outburst  of  arbitrary  symbols,  has 
collapsed,  leaving  hardly  a  trace  of  its  influence ;  Cubism, 
by  its  very  nature  a  three-dimensional  scheme,  has  para- 
doxically developed  into  a  decorative  art  of  two  planes; 
Vorticism,  a  corruption 
of  Picasso's  methods, 
is  dead  and  forgotten. 
In  Paris  there  is 
neither  safety  nor  /re- 
pose: the  Dadaists,  an 
innocuous  group  of 
humorists,  are  per- 
forming to  a  jaded 
public.  Defeated  in 
serious  fields,  these 
men  have  deliberately 
set  out  to  debase  art — 
occasionally  their  fri- 
volity is  amusing;  in 
most  cases  it  is  no 
more  than  unintelligent 
buffoonery.  In  Amer- 
ica I  see  more  hopeful 
signs.  Here,  at  least, 
we  have  sobriety,  a 
consistency  of  purpose 
that  is  no  longer  ec- 
centric, and  a  maturity 
that  is  rapidly  distin- 
guishing our  own  art 
from  Continental  man- 
nerisms. And  we  have 
fully  as  much  diversity 
as  the  French.  From 
time  to  time  I  have  an- 
alyzed the  tendencies 
of  our  modern  men, 
and  have  pointed  out 
that  individual  devia- 
tions are  consolidated 
by  elements  which 
make  all  art  an  endur- 
ing force.  In  the  pres- 
ent   instance    we    have 


JOSEPH  STELLA 


Joseph  Stella,  a  European  by  birth,  but  by  right  of  his 
work  and  affiliations  one  of  the  most  interesting  person- 
alities in  contemporary  American  painting. 

Mr.  Stella  was  born  in  southern  Italy  in  1879.  After 
a  classical  education  which  included  drawing  from  life, 
he  came  to  America  at  the  age  of  nineteen  to  study  medi- 
cine. He  had  little  aptitude  for  science  and  soon  aban- 
doned it  for  painting. 
For  a  while  he  suffered 
the  academic  instruc- 
tion of  the  Art  Stu- 
dents' League ;  later  on 
he  entered  the  old  New 
York  School  of  Art 
and  won  a  scholarship  ; 
eventually  he  preferred 
to  hire  his  own  models. 
His  first  exhibition 
was  held  at  the  Amer- 
ican Artists'  League  in 
1905.  His  work  at  this 
period,  if  I  may  judge 
from  drawings  contrib- 
uted to  a  number  of 
magazines,  was  still 
hampered  by  his  aca- 
demic training.  He  has 
told  me  that  it  took 
many  years  to  free 
himself  from  the  fal- 
sities and  conventions 
of  the  schools.  To  get 
rid  of  early  influences 
he  made  exhaustive 
studies  in  oil  and  pastel 
of  the  steel  mills  at 
Pittsburgh,  and  then 
went  to  Europe.  He 
remained  abroad  for 
six  years,  exhibiting  at 
Paris  and  Florence, 
and  at  the  Interna- 
tional Exhibition  in 
Rome.  In  1913  two  of 
his  pictures  were  in- 
cluded in  the  famous 
(Cont'd  on  page  78) 


Page  Eleven 


iff    A 

mHEB — : 


AiAlAlAlAiAl^lAiZ 


-^me^ 


Miss  Smithkins,  age  unknown,  is  now  approach- 
ing the  Bridge  of  Sighs.  Her  eyes  are  fixed 
on  Byron's  famous  lines,  which  start,  "I  stood 
in   Venice  ..."     She  just  will   be   romantic 


Page  Twelve 


Ah,  Italy!  Thy  Fatal  Beauty 


ONLY   A    COP 

Hero  of  the  Piazza,  as 
brilliant  as  one  of  his 
own   Venetian  sunsets 


THE   GONDOLIER 

Chianti  is  his  favorite  amusement,  but 
under  the  stimulus  of  several  lire  he 
will  pole  you  along  the  Grand  Canal 
moaning  "Ave  Maria"  in  a  damp  tenor 


ST.   MARK'S   SQUARE 

Little  do  the  pigeons  realize 
that  they  are  destined  to  have 
their  pictures  grace  the  ooze 
leather  photograph  album, 
which  will  be  the  foundation  of 
the  continuous  lecture  carried 
on  by  the  sweet  young  tourists, 
entitled,  "Now,  when  I  was  on 
the  other  side" 


THE  VAMP 

The  signorina  who  has 
just  caught  a  glimpse  of 
an  American  film  director 


Page  Thirteen 


... 


Photo  by  Edith  Barakovich,  Vienna 


LOUISE  CARTOUCHE 

The  charming  soubrette  of  the  Viennese  "The- 
atre an  der  Wien,"  as  Pierrot  in  the  new 
operetta  of  Anton  Lehar,  "Chansons  a" Amour" 


Page  Fourteen 


Photo  by  Paul  Grenbeaux,  L.  A. 


ETTA  LEE 

Miss  Lee  will  shortly  be  seen  with  Ethel  Clayton 
in  the  screen  version  of  "The  Committance  Woman" 


Page  Fifteen 


A  WATER  COLOR 

More  depth  than  is  usually  attained  in  a  water  color,  added  to  an 
intense  and  vivid  interpretation  of  a  personality,  marks  this  painting 


Women 

Three  types  expressed 
in  three  mediums 

By 
Guy  Rowe 


Guy  Rowe  says,  "I  am  more  interested  in  ivomen  than  in  anything  else,  all  ages — all 
stages;  in  fact,  I  did  not  start  to  draw  until  I  was  seventeen  years  old,  and  decided 
I  wanted  to  paint  women  as  they  looked  to  me.  I  am  still  looking  and  trying;  I 
hope  to  do  in  paint  what  Balzac  did  in  literature,  and  do  it  for  American  art, 
with  regard  to  things,  strictly  as  they  are,   in  this  country,  as  woman  is,  I  mean." 


Page  Sixteen 


Guy  Rowe  commenced  his  studies  in  the  Detroit 
School  of  Fine  Arts,  under  the  personal  direc- 
tion of  John  P.  Wilkes.  Mr.  Wilkes  let  him 
carry  out  his  own  ideas,  and  so  Mr.  Rowe  came 
to  draw  what  he  saw  in  people  rather  than 
working  up  in  the  usual  way  from  casts  and 
posed  models.  Thanks  to  this  method,  his 
craftsmanship  has  remained  unsophisticated 
and  he  has  not  that  very  common  tendency  of 
displaying  learning — his  ideas  subordinate  all 
other  things,  the  character  and  life  of  his  sub- 
ject are  the  main  things  to  him.  He  is  not 
interested  in  technique  for  its  own  sake,  only 
so  far  as  it  aids  him  to  depict  character.  Mr. 
Rowe  has  exhibited  at  the  Detroit  Museum,  at 
the  Scarab  Club's  Annual  Exhibitions,  The 
American  Water  Color  Society,  Netv  York 
Water  Color  Society  and  the  National  Academy 


A  PENCIL  SKETCH 


AN    ETCHING 

One  of  a  series 
of  market  views 


Page  Seventeen 


Photo  by  Charles  Hadden  Parker 


REFLECTIONS 


Page  Eighteen 


Jests  and  Visions 

Alexander  Pope  said,  "Whatever  is,  is  right."    I  say,  Whatever  is,  is  re-write. 

B;y  Benjamin  De  Casseres 


JESTS  and  Visions — Puck  and  Prometheus — are  the 
two  escapes  from  the  futility  of  living.  Humor  and 
dreams — if  individuals  and  nations  have  not  these, 
they  perish.  (I  am  writing  this  on  Sunday  morning, 
when  the  sermon  complex  swims  to  the  top  of  our  con- 
sciousness.) 

Puck  hath  said  in  his  heart,  "What  fools  these  mortals 
he!"  But  Prometheus,  who  preceded  him  by  some  comets, 
said,  What  immortals  these  fools  be !  I  have  not  put 
Prometheus'  epigram  in  quotation  marks  because  the 
demi-Titan  never  said  it.  At  least,  it  is  not  recorded.  I 
put  it  in  his  mouth — and,  anyhow,  what's  the  literal 
truth  between  geniuses ! 

Well,  if  we  immortals  are  fools,  we  are  certainly  guilty 
of  some  immortal  foolishness.  Look  at  the  world  today 
— behold  its  sublime  damn  foolishness.  And  the  pathos 
of  its  stupidity.  Its 
foolishness  and  its  stu- 
pidity are  not  unique. 
It  was  the  same  yester- 
day— for  it  is  the  same 
human  race  —  and  will 
be  the  same  tomorrow. 
For  stupidity  is  im- 
mortal. In  fact,  stu- 
pidity is  the  collective 
genius  of  the  human 
race.  Everybody  can- 
not be  so  wise  as 
Mencken  and  myself. 

Humor  elevates  life 
to  the  level  of  a  sub- 
lime spectacle.  Vision 
is  the  illusive  bale  of 
hay  hanging  a  yard  in 
front  of  the  old  mule, 
Humanity.  I  personal- 
ly do  not  propose  to 
spill  any  more  of  my 
tears  over  the  woes  of 
humanity.  I  went  psy- 
chically dry  doing  that 
stunt  when  a  young  'un. 
For  the  rest  of  my  life 
I  shall  smile  and  smile 
without  being  too  much 
of  a  villain,  and  glorify 
Illusion  and  all  manner 
of  lies,  so  that  they  be 
beautiful. 

So  I  invite  you  to 
greet  my  colossal  gold- 
dust    twins,    Puck   and    Prometheus  —  Jest    and    Vision. 


of  them  that  does  not  take  the  job  seriously,  the  only 
ambassador  to  England  that  went  there  "for  a  corking 
good  time,"  as  Theodore  Roosevelt  said  when  he  quit 
whitehousing. 

Of  course,  a  humorous  or  saucy  diplomatist  is  anathema 
among  the  fussy-fossils.  Most  of  our  ambassadors  have 
never  said  anything  worth  recording.  Colonel  Harvey 
knows  there  is  nothing  to  say  worth  recording,  so  with  the 
shade  of  a  smile  flitting  thru  his  medulla,  he  stirs  up 
bored  America  with  sudden  sallies  and  furious  onslaughts 
— with  his  tongue  in  his  cheek.  His  Puckishness  is  anti- 
traditional.     Ecrasez  I'Infame! 


WHY  HELEN  WEPT 

By  Harry  Kemfi 

T-TELEN  wept  on   the   windy  parapet   .   .   . 

She    saw    far    off,    wide    as    the    sky's    embrace, 

The  camps  of  Greece   that  seemed  to   fill  all  space 

But  it  was  not  for  heart-break  nor  regret 

Nor  any  dimming  dream  in  memory  set 

That  those  slow  tears   crept  down  her  lovely  face; 

Nor  was  she  mourning  over  her  disgrace — 

Or  that  both  Greeks  and  Trojans  held  her  base. 

Nor  for  whole   skies   of  woe   that  darkened   yet: 

Nor  did  sh  -  weep  because  of  Pans  dead, 

Nor  for   that  one   child   that  her   breasts   had  fed   . 

Because  of  her,   two  worlds  of  men  ran  mad. 
Combating    to  and  fro  in  dreadful  fight: 
Despite  her  tender  heart,  this  made  her  glad. 
And,   womanlike,   she   wept  from   sad  delight/ 


If  there  is  one  man  who  has  contributed  to  the  gaiety 
of  the  wood-alcoholic  times  in  which  we  Americans  live, 
it  is  Colonel  Harvey.  Better  fifty  years  of  Harvey  than  a 
cycle  of  John  Hay.  Since  the  Colonel  has  been  in  London 
he  has  contrived  to  shake  up  our  prejudices  and  shake 
down  some  shams.  The  Colonel  is  the  greatest  ambassa- 
dor that  we  have  ever  sent  abroad.     He  is  the  only  one 


Have  women  souls  ?     No,  said  Colonel  Harvey.     When 
you    remember    that    Victoria    and    Elizabeth    ruled    the 

British  Empire,  it  re- 
quired courage  to  utter 
that  in  England.  Nei- 
ther Queen  Elizabeth 
nor  Queen  Victoria  had 
a  soul.  Oliver  Crom- 
well and  Edward  VII 
had.  Lady  Astor  has 
no  soul.  Margot  As- 
quith  has  no  soul.  Cleo- 
patra had  no  soul.  Bebe 
Daniels  has  no  soul. 
Tom  Meighan  has  one. 
Joan  of  Arc,  like  Dutch 
Kate,  of  Greenwich 
Village,  has  no  soul, 
while  Harry  Kemp  and 
Charles  F.  Murphy 
have  one. 

The  whole  matter 
comes  to  this :  How 
can  one  tell  whether 
one  possesses  a  soul  or 
not?  As  I  write  this,  a 
portrait  of  Pola  Negri 
looks  down  upon  me. 
The  first  time  I  saw 
Pola  (it  was  in  Pas- 
sion, I  think),  I  ex- 
claimed to  Frank  Wils- 
tach, 

"That  woman  has  a 
soul !" 

"I    believe,"    replied 

Frank,   ecstatically, 

"she  has  an  over-soul !" 

How  did  we  arrive  at  the  conclusion  that  Pola  had  a 

soul?     The  close-ups  revealed  it.     If  you  will  study  the 

close-ups  of  Pola  Negri,  you  will  notice  a  thin  line  of 

scorn  running  from  the  corner  of  both  lips  toward  the 

plump  part  of  the  cheek.    This  is  the  soul-line  in  the  face. 

She  who  hath  scorn  hath  a  soul. 

Colonel  Harvey's  knowledge  of  woman  is  academic,  I 
fear.     He  should  study  them — in  close-ups. 
The   Huneker  legend  grows.     The  publication  of   his 
(Continued  on  page  75) 


Page  Nineteen 


Four  of  the  six  murals  by  Ezra  Winter  and  Barry  Faulkner,  depicting  the  history  of  music 


An  Experiment  in  Music  Culture 

By  Edward  Hungerford 


PRINCE  STREET,  Rochester  .  .  .  1912  ...  An 
old-fashioned,  brown-brick,  mansard-roofed  house 
of  the  architecture  that  flippant  novelists  delight  in 
calling  "Late  General  Grant."  A  struggling  school  of 
music,  if  you  please,  without  much  backing,  without 
many  friends.  Two  musicians  devoted  to  their  high 
ideals,  working  almost  hopelessly  to  make  both  ends  meet 
with  it.  .  .  .  One  musician  drops  out.  Perhaps  there 
is  a  living  for  just  one  man  in  it,  without  a  sacrifice  of 
ideals.  .  .  .  Perhaps  not  even  that.  Yet  the  other 
musician  struggles  on.  .   .   . 

Gibbs  Street,  Rochester  .  .  ,.  1922  .  .  .  For  more 
than  three  hundred  feet  there  stretches  the  coldly  beau- 
tifuLItalian  Renaissance  facade  of  a  white  marble  opera 
house  and  school  of  music  combined.  The  opera  house 
is  the  third  largest  theater  in  the  United  States — the 
music  school,  six  stories  in  height,  and  with  nine  pipe- 
organs  in  sound-proof  studios,  and  with  forty-eight 
pianos  in  sound-proof  teaching-rooms,  has  a  capacity  for 
more  than  two  thousand  students.  .   .   . 

This  white  marble  structure  is  not  a  commercial  insti- 
tution ;  it  is  an  educational  one.  For  this  reason  its  title 
has  been  vested  in  the  University  of  Rochester;  a 
rather  quiet,  old-fashioned  college  which  for  the  past 
seventy  years  has  been  doing  thoro  and  consistent  teach- 
ing in  that  city.  Upon  the  high-set  lintel  of  the  struc- 
ture there  has  been  graven  the  words :  "For  the  Enrich- 
ment of  Community  Life."    They  express  its  real  spirit. 

It  is  indeed  a  community  institution.  There  are  to  be 
no  ultimate  profits  in  the  operation  of  either  theater  or 
school.  Upon  the  cover  of  your  program  it  is  plainly  set 
forth  that  the  house  is  "to  be  operated  and  maintained 
for  the  promotion  of  musical  interests  generally  in  the 


City  of  Rochester.  .  .  .  Any  surplus  from  the  operation 
of  the  theater  is  to  be  used  in  developing  the  musical 
interests  of  the  city." 

To  that  high  policy  is  the  new  Rochester  institution 
firmly  committed. 

The  best  minds  in  America  were  called  into  the  con- 
struction and  decoration  of  the  building  itself.  The  all- 
important  problem  of  the  acoustics  was  put  in  the  hands 
of  experts,  with  the  result  that  in  the  topmost  row  of  the 
topmost  gallery  one  actually  can  hear  a  pin  drop  upon 
the  stage.  The  remarkable  acoustic  properties  of  the 
famous  Mormon  Tabernacle  at  Salt  Lake  City  have  been 
duplicated. 

It  is  a  very  democratic  affair,  this  very  newest  of  the 
great  opera  houses  of  the  world.  Its  auditorium  pos- 
sesses no  boxes.  For  the  permanent  subscribers,  whose 
guarantee  subscriptions  are  a  necessity  to  its  musical 
plans,  a  sweeping  mezzanine  balcony  has  been  installed 
at  the  rear.  Yet  even  this  "super-box" — if  you  are  dis- 
posed to  call  it  such— has  more  than  four  hundred 
seats,  the  greater  part  of  which  are  freely  available  at 
the  box-office.  .  .  .  But  the  most  democratic  feature  of 
the  opera  house  is  its  great  gallery ;  locally  known  as  the 
grand  balcony.  Its  fittings  are  quite  as  fine  as  that  of 
the  mezzanine  just  underneath. 

The  old  idea  of  a  segregated  folk  in  an  upper  gallery, 
who  must  enter  and  leave  by  a  separate  entrance  and 
never  mingle  at  all  with  the  rest  of  the  audjence,  and 
who  must  study  the  cast  from  inferior  programs,  has 
no  place  whatsoever  in  the  Eastman  Theater.  The  top 
row  of  the  top  gallery  has  the  same  type  of  chair  and 
the  same  upholstery  as  the  front  row  of  the  orchestra. 
Personally,  I  vastly  prefer  the  gallery  to  any  other  part 


Page   Twenty 


SUADOWLAND 


of  rhe  house.  In  no  other  place  does  one  get  the 
great  sweep  and  the  real  grandeur  of  this  magnifi- 
cent auditorium. 

Sweep  and  grandeur — and  amazing  simplicity.  If 
the  Eastman  Theater  teaches  any  one  thing  in  its 
lines  and  its  decoration,  it  is  the  high  value  and  the 
real  beauty  of  good  taste.  ...  It  is  ornate ;  it  is 
gloriously  ornate.  The  huge  crystal  chandelier  with 
a  thousand  separate  lights,  which  came  all  the  way 
from  Vienna  to  illuminate  the  theater,  drops  from  a 
domed  ceiling  and  a  golden  sunburst.  Yet  it  never 
for  a  moment  violates  a  single  canon  of  good  taste. 

The  complete  absence  of  boxes  from  the  house  gave 
great  side-walls ;  and  these,  in  turn,  an  opportunity 
for  murals  such  as  no  other  theater  ever  has  given. 
For  the  decorative  scheme  of  these  walls  two  eminent 
American  painters — Ezra  Winter  and  Barry  Faulk- 
ner— were  enlisted.  The  six  panels  of  heroic  size 
which  they  have  prepared  depict  the  history  of  music. 
Already  these  have  taken  their  stand  as  art  treas- 
ures alongside  the  murals  of  the  Boston  Public 
Library  and  of  the  Library  of  Congress  at  Wash- 
ington.  .    .    . 

There  are  many  minor  decorations.  One  can 
spend  several  days  studying  them  out.  For  a  turn 
in  one  of  the  main  stairways,  Maxfield  Parrish 
painted  a  panel ;  at  a  little  half-hidden  corner  of  a 
side  corridor  one  hears  the  splash  of  running  water 
and  discovers  an  Italian  fountain  of  exquisite 
beauty ;  Japanese  tapestries  in  this  corner  and  in  that, 
and  here,  there  and  everywhere — paintings,  old  and 
new,  that  have  been  culled  to  make  the  new  house 
artistically  complete.  And  these  extend  from  the 
opera  house  itself  into  the  long  corridors  of  the 
adjoining  School  of  Music,  which  upon  opera  and 
concert  nights  are  used  as  promenades  for  the 
entr'actes. 

George  Eastman  believes  that  appreciation  of 
music  does  not  come  to  a  community  by  the  wave 
of  a  wand  or  the  building  of  an  'opera  house. 
Years,  and  even  generations,  of  the  slow  and  con- 
sistent training  of  the  youth  of  a  town  alone  bring 
the  widespread  musical  taste  that  can  place  so  gi- 
gantic an  undertaking  as  permanent,  resident  grand 
opera  upon  a  solid  footing.     With  this  in  view  the 


The  simple  lines  and  perfect  proportion  give  an  air 
of  dignity  to  the  corridors  of  the  School  of  Music 


Eastman  School 
of  Music  has 
already  e  m  - 
barked  upon  an 
elaborate  scheme 
o  f  extension 
work  in  the 
grammar  and 
the  primary 
schools  of 
Rochester.  The 
results  of  that 
scheme  will  not 
be  quick.  But 
they  should  be 
very  sure  in- 
deed. 

(Continued   on 
page  77) 


Here  you  are  given 
a  glimpse  of  a 
panel  by  Maxfield 
Parrish,  set  into  a 
turn  of  one  of  the 
main  stairways 


Page  Twenty-One 


■■■.--- 


Photo  ©  by  James  Wallace  Pondelicek 


THE  REHEARSAL 


Page  Twenty-Two 


A  camera  study  of  Ethelynd  Terry,  by  J.   Willett 


IN  PERIWIG  AND  PEARLS 


Page  Twenty-Three 


In  the  screen  above,  the  design  is 
leather  of  varied  and  beautiful  colors 
inlaid  on  a  solid  leather  background, 
upon  which  the  design  was  first  carved 
by  hand;  the  frame  is  Macassar  ebony 


Decorative  Leather 

from 

Amsterdam 


This  interesting  leather  work,  recent- 
ly on  exhibit  at  the  Waldorf-Astoria, 
is  from  the  shops  of  J.  Brandt, 
and  is  designed  and  made   by  artists 


The  fire-screen  has  a  bronze  base  and 
frame;  the  figure  is  leather  outlined  in 
fine  gold  wire,  which  goes  thru  and 
forms  an  outline  on  the  asbestos  back. 
At  the  left,  the  solemn  leather  raven  sits- 
amidst  a  colorful  leather  background, 
the  design  of  which  was  first  pressed  in 
by  hand  with  a  hot  die  and  then  painted 


Page  Twenty-Four 


MUBaaaMaaMMllUMIItdBMBBHHHHMHVHHMnflHHHflBHHHHUHBMBHnnHUHHHflnBHBHHUB 


Photo  by  Edward  E.  Jacobsen 


Hazel  Lindsley's  appealing  beauty  charmed  all  who  saw  her  in  the 
photoplay,  "Sea  of  Dreams."    She  is  an  entrant  in  the  Beauty  Contest 


Page  Twenty-Five 


The 
Economics 

of 
Experiment 

If  the  new  stagecraft  is  but  a  new 
and  more  lavish  way  to  spend 
money,  it  will  accomplish  very 
little  for  our  theater;  if  it  sim- 
plifies as  well  as  intensifies,  then 
it  will  open  a  whole  new  range 
of  possibilities 

Walter  Prichard 
Eaton 

Illustrations  by  Everett  Henry 


This  scene  from  R.  V.  R.  is  laid  in  the  scientist's  laboratory  and  shows 
how    effectively   the   apparatus    is   projected    against    the    luminous    sky 


EXPERIMENT  in  the  theater  depends  not  only 
on  the  enthusiasm  of  the  artists,  but  on  their 
financial  resources.  This  is  a  commonplace  which 
the  artists  are  prone  to  forget  and  the  public  to  ignore. 
The  public,  indeed,  is  interested  only  in  results,  and  has 
been  too  long  accustomed  to  a  comfortable  richness  in  the 
playhouse  to  tolerate  anything  skimpy,  except  under  very 
special  circumstances.  Accordingly,  if  an  author  writes 
a  play  in  seven  or  eight  scenes,  as  O'Neill  has  twice  done, 
and  as  Shaw  did  in  Back  To  Methuselah,  or  if  the  play, 
like  Shaw's,  is  of  such  great  length  that  rt  has  to  be  per- 
formed in  sections,  or  if  the  producer  wishes  to  try  some 
novel  method  of  presentation,  of  uncertain  value  as  popu- 
lar entertainment  (like  the  Jones-Hopkins  Macbeth,  for 
instance),  one  of  two  things  is  essential  if  the  experiment 
is  to  be  made  on  a  scale  that  gives  it  any  hope  of  success 
— either  the  producer  must  have  a  considerable  bank 
reserve,  or  he  must  have  the  ingenuity  to  make  his  pro- 
duction with  the  minimum  of  expense,  and  the  maximum 
of  effect. 

It  is  not  entirely  unfortunate  that  the  experimenter 
seldom  has  the  bank  reserve.  Tree's  answer  to  the  riddle : 
When  is  a  repertoire  theater  not  a  repertoire  theater? — 
When  it  is  a  success,  tells  the  story  of  more  than  one 
experiment  which  ended  on  the  rocks  of  the  tame  and 
respectable,  or  which  came  to  make  its  productions  on 
such  a  scale  that  they  were  of  little  or  no  service  to  the 
theater   in   general.      Subsidy   seems   especially   to   work 


either  for  display  or  conventionality.  On  the  other  hand, 
the  ingenuity  of  the  directors  in  accomplishing  much  with 
little  is  of  direct  benefit  to  every  theater,  professional 
and  amateur,  and  free  experiment  in  our  playhouse  per- 
haps depends  more  upon  this  ingenuity  of  the  directors 
than  upon  any  other  one  factor. 

For  example,  the  projector  which  Lee  Simonson  pro- 
cured not  long  ago  in  Germany,  from  the  inventor, 
Adolph  Linnebach,  while  it  is  primarily  a  device  to  paint 
a  backdrop  with  living  light  instead  of  flat  color,  is  an 
enormous  money  saver.  If  (as  in  Back  To  Methuselah) 
you  have  several  outdoor  sets,  it  is  perfectly  possible  to 
paint  each  backdrop  on  a  slide  hardly  two  feet  square, 
which  is  projected  on  a  translucent  white  cloth,  thru  which 
it  shows,  thus  doing  away  with  a  great  deal  of  labor  and 
material.  It  is  also  used  in  R.  U.  R.  to  paint  sky  and 
smoke-stacks.  Mechanical  aids  that  do  away  with  labor 
and  material  are  common  enough  in  all  industries,  but 
they  have  been  slower  in  reaching  the  theater,  because 
in  the  theater  they  have  to  be  invented  less  by  mechanics 
than  by  artists ;  they  must  increase  illusion  and  beauty  as 
well  as  decrease  cost,  or  they  are  vain.  That  is  why 
modern  Germany  has  made  so  many  valuable  contribu- 
tions to  stagecraft;  her  theater  artists  have  been  also 
mechanically  inventive. 

In  the  Jones-Hopkins  production  of  Macbeth,  the  action 
took  place  in  front  of  a  vast  black  hanging  which  swept 
around  into  the  wings,  and  all  the  light  came  down  from 


Page  Twenty-Six 


SuA&OWLAN& 


overhead  in  three  pencil  beams.  There  was  a  definite 
emotional  reason  for  this,  of  course,  but  it  should  be 
noted  that  it  also  served  to  screen  out  the  wings  with 
shadow.  If,  for  every  scene  of  the  play,  special  scenery 
had  been  built  to  screen  out  the  wings,  the  cost  of  pro- 
duction might  have  risen  to  prohibitive  prices.  But  light 
and  shadow  are  the  cheapest  scenery  in  the  world.  In 
Back  To  Methuselah,  Lee  Simonson,  the  designer,  framed 
his  proscenium  arch  with  a  "cut-out"  of  conventionalized 
foliage,  which  seemed  quite  in  place,  of  course,  in  the 
opening  act,  "the  Garden  of  Eden,"  but  which  remained 
for  all  the  rest  of  the  play.  It  served  a  double  purpose  in 
his  scheme :  it  caused  the  audience  to  be  reminded  in  sub- 
sequent acts  of  the  play's  beginnings,  as  if  it  were  all 
viewed  thru  the  arch  of  Eden,  thus  aiding  in  a  unity  of 
impression,  and  it  cut  off  enough  of  the  audience's  chance 
to  peep  into  the  wings  or  up  into  the  flies,  to  enable  him 
to  do  away  with  a  considerable  number  of  pieces  of 
scenery  which  would  otherwise  have  had  to  be  built  as 
screens,  and  each  night  moved  about  by  stage  hands. 
Similarly,  a  low  platform,  used  first  in  the  act  called 
The  Thing  Happens,  served  to  elevate  the  president's 
chair  into  prominence,  and  enabled  more  people  to  be 
comfortably  handled  on  a  smallish  stage ;  but  the  same 
platform  could  be  manipulated  into  a  temple  step,  into 
the  base  of  temple  columns,  and  finally  into  a  masking 
screen  for  the  projector  which  painted  the  big  cloud  on 
the  backdrop  in  the  final  act.  These  devices  had  their 
definite  place  in  the  play,  so  that  they  were  not  realized 
by  an  audience  as  devices  at  all ;  but  they  made  it  easier 
to  finance  a  daring  experiment,  and  they  make  it  easier 
for  other  producers,  especially  those  of  restricted  re- 
sources, to  accomplish  good  things. 

It  is  doubtful  if  Back  To  Methuselah  lost  the  Theatre 
Guild  much  money,  but  it  certainly  made  them  none — 
directly,  that  is.  How- 
ever, by  being  able  to  put 
it  on,  they  gained  so  much 
public  interest  that  this 
year,  only  eight  months 
later,  they  have  more  than 
five  thousand  subscribers, 
and  they  have  a  European 
reputation  which  enabled 
them  to  secure  for  their 
first  bill  this  autumn  the 
fascinating  and  important 
Bohemian  drama,  R.U.R. 
With  five  thousand  sub- 
scribers, which  actually 
means  nearer  ten  thou- 
sand seats,  the  Guild  is 
now  bound  to  take  in 
enough  money  to  pay  for 
k  any  reasonable  production. 
They  cannot  absolutely 
fail.  They  have  removed 
the  worst  of  the  gambling 
element  from  the  theater. 

In  the  delightful  remi- 
niscences of  old  Sol  Smith, 
you  will  find  the  account 
of  a  stock  company  in 
which  Sam  Drake,  the 
leading  man,  quite  liter- 
ally doubled  in  brass.  Not 
only  would  he  play  three 
or     four     parts     of     an 


Another  scene  from  R.  U.  R., 
where    living    light    gives    an 
extraordinary  effect  of  bound- 
less space 


evening,  but  in  Pizzaro,  after  his  death,  he  had  to  fall 
far  enough  off  stage  to  play  slow  music  to  bring  down 
the  curtain.  Actors  in  those  palmy  days  had  to  be  actors ! 
In  the  modern  company,  chosen  entirely  for  its  fitness  to 
present  one  specific  play,  versatility  has  given  way  to 
specialization  to  "the  type"  and  infrequently,  even  when 
the  cast  is  long,  does  the  same  actor  play  two  parts.  If, 
however,  a  producer  wishing  to  experiment  either  by  the 
frequent  production  of  new  plays  for  short  periods,  or 
with  certain  dramas  calling  for  long  casts,  or  with  unusual 
dramas  put  on  for  a  special  performance  or  two  by  his 
company  engaged  regularly  in  another  play,  hopes  to 
make  his  experiments  effectively  and  yet  at  a  minimum 
cost,  he  will  have  to  secure  actors  who  are  flexible,  and 
even  who  are  willing  to  double. 

Back  To  Methuselah,  played  in  three  sections,  each 
running  for  a  week,  if  it  is  to  be  presented  without 
staggering  expense,  must  be  acted  by  a  rather  small  com- 
pany. If  different  people  were  employed  for  the  different 
sections,  two-thirds  of  the  company  would  be  idle  all  the 
time.  The  salary  bill  would  be  tripled,  or  nearly  so.  Of 
course,  a  certain  few  characters  run  thru  the  play  and 
have  to  be  acted  by  the  same  players.  However,  on  the 
whole,  the  play  could  be  acted  by  three  sets  of  players, 
and  would  be-  so  acted  if  it  were  cast  in  the  usual  way. 
The  Theatre  Guild,  in  casting  it,  had  to  try  out  a  great 
number  of  actors,  many  of  whom  were  entirely  satisfac- 
tory in  one  part,  but  could  not  meet  the  test  of  some  other 
part  they  would  have  to  play.  It  became  a  search  for 
versatile  players. 

The  point  is,  of  course,  that  the  experimental  theater, 

to    be    free,    needs    besides    the    inventive    talent    of    its 

scenic    and    producting    artists,    the    services    of    willing 

and    versatile    actors.      Far    less    than    in    the    so-called 

{Continued  on  page  75) 


Paije  Txeentv-Seven 


. 


Photo  ©  by  James  Wallace  Pondelicek 


/  walked  alone  in  the  mountains  where  wonders  and  glories  are, 
And  I  lijted  my  hands  in  gladness  to  clasp  'a  luminous  star; 
I  reached  thru  infinite  spaces — 0  Love,  do  you  understand? 
When  I  held  the  star  of  my  dreaming,  I  thrilled  to  the  touch  of  your  hand. 

— Edgar  Daniel  Kramer. 


Page  Twenty-Eight 


Czech  Puppets  With  a  History 


Photographs  by  Sherril  Schell 


— ~. 


-+^fc%?Wt»ms'j«t 


A  CENTURY  or  so  ago,  when  the  first  Bohemians 
settled  in  New  York,  there  came  with  them  a  poor 
cobbler,  and  like  most  people  he  had  so  many 
children  he  didn't  know  how  to  amuse  them.  Back  in 
Bohemia  he  had  delighted  not  only  his  own  children  but 
the  children  of  all  the  villagers  as  well  with  his  puppet 
shows.  Unfortunately,  the  puppets  and  toys  had  been 
left  behind  and  the  cobbler  could  not  afford  to  send  for 
them,  so  he  sat  down  and  with  his  cobbler's  tools  carved 
a  new  set,  from  memory,  including  all  the  types  that  had 
been  handed  down  for  generations.  For  in  Bohemia 
nearly  every  family  has  its  own  puppet  show,  and  it  isn't 
used  only  for  the  enjoyment  of  the  children,  either. 

Altho  the  children  are  always  put  in  the  front  rows  at 
the  performance,  the  whole  community  attends  and  when 
Kapulinka  and 
Kasparek,  who 
have  posed  in  the 
picture  above  to 
the  left,  come  out 
on  the  stage  the 
audience  usually 
joins  in  any  argu- 
ments they  may 
have.  Later  Kas- 
parek calls  the 
Devil,  whose 
name  is  Czech, 
and  who  finds  it 
impossible  to  do 
evil  in  the  pres- 
ence of  the  chil- 
dren, so  he  is 
forced  to  carry 
presents  for  the 
children  in  a 
wheelbarrow,  a 
tiny  carved  kit- 
ten, a  diminutive 
flower  pot  and  in- 
numerable other 
small     articles 


.  ■    ,  P..-  ■■-■..,.-... 


i[i«  #!*H(»«» 


which   the   devil    very   meekly   gives    to    Kasparek,    who 
hands  them  over  the  footlights  to  the  children. 

The  whole  cast  is  the  group  in  the  picture  at  the  bot- 
tom of  the  page.  Reading  from  left  to  right  they  are : 
the  guardsman  bold,  the  simple  peasant  girl,  the  good, 
old  devil,  who  later  becomes  a  monk,  the  woodsman, 
another  peasant  girl  and  her  lover,  the  daring  robber,  a 
farmer  and  a  wealthy  householder  of  Prague. 

Modern  Czech  puppets  are  smaller  and  respond  better 
to  the  fingers  of  the  puppeteer.  They  still  retain  the 
characteristic  modeling  of  their  predecessors,  even  for 
the  dramas  that  are  written  for  them  today.  Even  now 
practically,  every  family  has  its  puppet  theater.  At  the 
Webster  Branch  of  the  New  York  Library  there  is  a 
collection  of  puppets  and  a  theater  equipped  with  modern 

scenery  and  a 
light  -  board,  the 
puppets  them- 
selves change 
character  by 
changing  cos- 
tumes. The 
Czecho  -  Slovak 
Art  Shop  makes 
a  business  of  im- 
porting the  pup- 
pets and  the  thea- 
ters that  go  with 
them.  Not  the 
least  fascinating 
importations  are 
the  wooden  toys ; 
a  few  of  them  are 
shown  above.  Of 
course,  all  are  ex- 
aggerations and  to 
some  no  name  is 
possible.  The  Jan 
Huss  church  is 
now  the  home  of 
the  old  cobbler's 
puppets. 


Page  Twenty-Nine 


Photo  by  Abbe 


YVONNE  GEORGE 


Another  Yvette  Guilbert,  whose  singing  of  "Fai 
Pas  Sii  y  Faire"  in  "The  Greenwich  Village 
Follies"  is  treating  a  sensation  in  New  York 
that  is  only  comparable  with  the  popularity 
oj  her  "Mon  Homme"  in  Paris  during  the  war 


Page  Thirty 


The  Toast 

of  the 

Continent 


Endja    Mogout    (left)    is   a   piquant    nineteen-year- 
old  dancer  and  screen  star  of  Hamburg,  Germany 

The    vivacity    and    sparkle    that    characterize    the 

beautiful     women    of     Vienna     is     intensified     in 

Catherine   Brunner,   the   dancer    (above) 


Page  Thirty-One 


Photo  by  Kcabe,  Rome 

Two  outstanding  members  of  the  Chicago  Civic  Opera  Com- 
pany are  Angelo  Minghetti  (above),  a  new  lyric  tenor,  and 
Edith  Mason  (below),  wife  of  the  conductor,  Giorgio  Polacco 


UNTIL  America  has  something  cor- 
responding with  a  ministry  of  fine 
arts,  as  in  European  countries,  it 
is  perhaps  useless  to  look  for  a  national 
scheme  for  encouraging  music^in  ^  general 
and  opera  in  particular.  Mr.  John  C. 
Freund,  the  veteran  musical  editor  and 
publisher  of  Musical  America,  has  for  sev- 
eral years  been  insistent  on  the  importance 
of  creating  a  secretary  of  the  fine  arts  with 
a  seat  in  the  presidential  cabinet,  and  from 
time  to  time  the  project  receives  support 
from  music  clubs  in  some  of  the  larger 
centers.  But  it  is  still  very  much  in  the  air. 
In  New  York  the  City  Chamberlain,  Mr. 
Philip  Berolsheimer,  himself  a  music  lover 
who  has  done  not  a  little  to  give  the  public 
of  the  great  metropolis  free  music  in  the 
form  of  open-air  band  concerts,  recently 
formulated  a  comprehensive  municipal 
scheme  for  the  establishment  of  a  great 
music  conservatorium  and  opera  house  in 
a  central  part  of  the  city.  This  would  in- 
volve   the    expenditure    of    anything    from 


American 
Civic  Opera 

4 

An  Experiment  at  Chicago 

By 
Jerome  Hart 


twenty  million  to  forty  million  dollars,  and,  like 
the  ministry  of  fine  arts,  it  is  still  in  cloudland. 

In  some  of  the  large  cities  the  municipalities  are 
assisting  the  symphony  orchestras  and  other  musi- 
cal projects  for  the  benefit  of  the  public,  and  music 
is  being  increasingly  recognized  thruout  the  coun- 
try as  what  it  is,  the  most  democratic  and  widely 
popular  of  all  the  arts,  and  therefore  one  which 
should  have  the  support  of  the  government  and 
municipal  authorities.  There  is,  however,  a  phase 
or  branch  of  music  which  has  not  been  popularized 
and  democratized  to  the  same  extent  as  the  rest, 
and  that  is  grand  opera.  It  remains  in  America,  as 
it  began  in  Europe,  the  most  exclusive  branch  of 
music,  which  can  only  be  enjoyed  by  comparatively 
a  limited  number  because  of  its  high  cost,  a  cost 
which  places  it  beyond  the  means  of  the  masses  of 
the  people  except  for  the  occasional  visits  of  per- 
ipatetic companies. 

A  real  attempt  to  reduce  the  aristocratic  and 
plutocratic  exclusiveness  of  grand  opera  has  re- 
cently been  made  in  Chicago,  and  the  result  will  be 


Photo  by  Hutchinson 


Page   Thirty-Tzvo 


It  is  much  to  be  regretted  that 
New  York  will  not  be  in- 
cluded in  the  itinerary.  The  annual  visit  to  the  Eastern 
metropolis  was  always  an  event  of  first-class  importance, 
one  which  was  looked  upon  by  music  lovers  and  con- 
firmed operagoers  as  giving  a  much-needed  fillip  to  the 
season,  for  it  tended  to  stimulate  a  wholesome  and  de- 
sirable spirit  of  rivalry  on  the  part  of  the  wealthy  and 
influential  Metropolitan  Opera  Company. 

New  York  opera  lovers  will  miss  above  all  the  richly 
varied  repertory  of  the  Chicago  Opera  Company,  in 
which  French  opera  had  its  due  part.  We  can  never  be 
too  grateful  to  a  company  which  enabled  us  to  hear  such 
interesting  works  as  Pelleas  and  Melisande,  Le  Chemi- 
neau,  Les  Contes  d' Hoffmann,  Louise,  Le  Jongleur  de 
Notre  Dame,  Herodidade,  Thais,  and  others  done  by 
French  artists  of  such  admirable  quality  as  Maguenat, 
Dufriche,  Dupanne,  Defrere,  Cotreuil,  Yvonne  Gall,  our 
own  Mary  Garden,  and  others  eminent  at  the  Paris  Na- 


Amelita  uaui-^urci  is  singing  with  both  the  Metropolitan  and  Chicago  upera  com- 
panies this  season  as  last.    Here  she  appears  for  the  first  time  as  Madame  Butterfly 


tional  Opera  and  Opera  Comique.  French  works  were 
sung  by  the  Chicago  organization  in  their  native  lan- 
guage, for  the  most  part  by  French  artists,  and  the  per- 
formances set  standards  of  the  highest  value,  which  the 
Metropolitan  would  sometimes  have  done  well  to  emu- 
late. 

Which  reminds  us  that  there  is  some  room  for  disquiet 
in  the  fact  that  Mr.  Gatti-Casazza's  almost  autocratic 
position  in  New  York  will  be  strengthened  by  the  discon- 
tinuance of  the  visits  of  the  Chicago  company.  This 
may  be  to  the  advantage  of  the  committee  and  share- 
holders of  the  wealthy  and  powerful  Metropolitan 
Opera  Company,  but  whether  it  will  be  altogether  in  the 
best  interests  of  artists  and  the  public  remains  to  be  seen. 
The  very  able  but  almost  too  dominant  general  director 
of  the  Metropolitan  is  now  operatic  monarch  of  all  be 
(Continued  on  page  76) 


Page  Thirty-Three 


' 


THE  DANCERS 

Wayne  Albee  hus  very  effectively  posed 
Betty  and  Leonora  after  Harriet  Frishmuth's 
well-known  and  delightful  piece  of  sculpture 


Page  Thirty-Font 


Litterateurs  of  Modernism 

A  Novelist  and  a  Poet  Who  Chronicle  and  Characterize  a  Disenchanted  Age 

Efy  Burton  Rascoe 


THE  publication  in  English  of  an  incredibly  good 
translation  by  C.  K.  Scott  Moncrieff  of  the  siz- 
able first  part  of  Marcel  Proust's  monumental  A 
La  Recherche  dn  Temps  Perdu  (Remembrance  of  Things 
Past),  under  the  title  Swann's  Way,  reminds  me  of  the 
story,  with  its  piquant  moral,  of  the  discovery  of  Marcel 
Proust.  In  1913  there  came  into  the  office  of  the  Nou- 
velle  Revue  Francaise,  the  booming  organ  of  what  was 
then  the  most  significant  and  articulate  section  of  the 
Parisian  younger  generation,  a  huge,  unwieldy,  closely 
penned,  almost  illegible  manuscript  bearing  the  title, 
Dn  Cote  de  CJiea  Swann.  It  was  dedicated,  of  all  per- 
sons, to  Gaston  Calmette,  former  editor  of  the  Figaro, 
a  man  certainly  of  some  political  and  journalistic  no- 
toriety but  of  no  literary  significance.  The  busy  editors, 
Jacques  Riviere  and  Gaston  Gallimard,  regarded  the 
weight,  bulk  and  illegibility  of  the  manuscript,  raised 
skeptical  eyebrows  at  the  dedication  and  returned  the 
work  with  no  more  than  a  casual  glance  at  the  first  few 
pages.  A  few  months  later  the  novel  appeared  under  the 
aegis  of  a  publisher 
who  prints  books  at 
authors'  expense. 
Riviere  and  Gallimard 
read  it  and  recognized 
it  as  the  novel  they 
had  rejected.  They 
also  recognized  it  as 
one  of  the  most  re- 
markable literary 
works  of  their  gener- 
ation, almost  an  epoch- 
making  achievement  in 
prose.  They  consid- 
ered the  possible  expi- 
ations for  their  stu- 
pidity and  carelessness, 
viewing  with  some 
favor  a  hand-in-hand 
leap  from  the  top  of 
Eiffel  tower ;  but,  in 
the  end,  they  decided 
that  one  of  them  ought 
to  go  to  see  Proust. 

Gallimard  sought 
out  Proust's  address, 
which  was  that  of  an 
ancient  and  musty 
hotel  in  one  of  the  ar- 
istocratic neighbor- 
hoods. Arriving  at  the 
house,  he  passed  thru 
a  number  of  dark  and 
deserted  halls  and  cam° 
at  last  to  the  door  of 
a  vast,  murky,  vaulted- 
ceilinged  bedroom.  As 
soon  as  his  eyes  began 
to  focus,  he  descried, 
by  the  light  of  a  single 
guttering  candle,  a  lit- 
tle, wizened  old  man 
in    bed,    wearing    a 


Aldous  Huxley,  the  young  author  of  Mortal  Coils,  who  has 
added  immeasurably  to  current  literature  with  his  exquisite 
style,  irony  and   insight   into   the  psychology   of  all  moods 


nightcap,  swathed  in  heavy  robes,  and  beside  him  on  a 
table  de  nuit  a  towering  mass  of  scribbled  sheets.  Intro- 
ductions, apologies,  compliments,  contrition,  forgiveness, 
and  a  contract,  ensued*  in  that  interview.  Proust  ac- 
cepted the  N.R.F.  as  his  publisher.  When  the  first  two 
volumes,  of  which  the  English  translation  is  now  avail- 
able, were  set  up,  Proust  objected  to  the  typography  and 
the  paging,  and  to  please  him  the  entire  double  volume 
was  reset  by  the  publishers  at  their  expense.  Such  was 
their  penance. 

Proust's  Remembrance  of  Tilings  Past  comprises  five 
volumes.  It  is  a  presentation  of  Parisian  "old  family" 
life  of  the  last  generation.  It  is  a  curious,  meticulous 
work  of  infinite  detail,  devoid  of  plot  and  "action"  and 
given  over  to  the  minute  recording  of  characterizing  in- 
cident. While  yoti  read,  a  firmly  etched  impression  is 
made  upon  your  mind  of  subtle  and  civilized  decadence 
in  a  fashionable,  cynical,  blase,  and  debilitated  society. 

Proust  writes  whereof  he  knows.  He  is  now  an  aging 
valetudinarian,  said  to  be  so  delicately  sensitive  to  colds 

that   he    sneezes   when 
-j  the    lawn   is    mowed 

outside  his  window. 
He  spends  mast., of  his 
time  in  bed,  writing  in 
a  delicate  script  these 
memories  and  impres- 
sions of  what  our 
moralists  would  term  a 
"wasted  life."  He  was 
born  into  a  financially 
secure  and  aristocratic 
family.  He  possessed 
both  sensibility  and 
curiosity  and  he  lived 
the  life  of  a  man  about 
town,  a  dilettante,  a 
connoisseur  of  ama- 
tory emotions,  with  no 
purpose  save  to  enjoy 
himself  in  a  manner 
consonant  with  his 
taste  and  abilities.  He 
was  a  dandy  and  a 
Don  Juan,  an  aesthete 
and  an  erudite  man. 
When  age  and  declin- 
ing health  cut  him  off 
from  contact  with  life, 
he  withdrew  grace- 
fully and  without  re- 
gret to  the  ivory  tower 
of  a  litterateur  and  be- 
gan to  compose  these 
memoirs  of  a  rare  and 
gifted  and  interesting 
personality. 

Proust's  method, 
but  hardly  his  manner, 
is  somewhat  analogous 
to  that  of  Dorothy 
Richardson.  His 
{Cont'd  on  page  64) 


Page  Thirty-Five 


Other  Beverages 

that 

Should  be  Prohibited 


Sketches  by  Henkel 


NEAR-BEER 

The  workingman's  noonday  solace  was  a  glass 
of  beer  with  his  lunch — before  Mr.  Volstead 
acted.  Now  he  spends  his  hour  of  leisure 
glooming  over  the  passing  of  the  good  old 
days  and  endeavoring  to  extract  one-half-of- 
one-per-cent  solace  from  a  bottle  of  near-beer. 
The  endeavor  never  meets  with  success.  There- 
fore, we  contend  that  any  beverage  which  adds 
to  the  depression  of  the  workingman  and  sub- 
tracts from  his  content  and  multiplies  his 
worries  should   be  prohibited 


s~ 


'  0bt  ■  f 

n  i 


AFTERNOON  TEA 
You  see  them  every  day  between 
three  and  six  in  every  aristocratic 
tearoom  in  the  city,  these  little 
twosomes  and  threesomes  and  four- 
somes, drinking  innumerable  cups 
of  Orange  Pekoe  and  Oolong,  and 
helping  themselves  generously  to 
dishes  of  scandal  and  gossip.  "The 
cup  that  cheers"  has  become  "the 
cup  that  sears."  Shall  we  prohibit  it? 


BUTTERMILK 
We  have  all  met  him — the 
Buttermilk  Bore.  "Absolute- 
ly cured  me  of  that  nawsty 
dyspepsia  .  .  .  four  glasses 
a  day  .  .  .  won'erful  stuff 
...  .  ought  to  try  it,  old  fel- 
low .  .  .  most  rejuvenating 
.  .  .  'Member  how  seedy  I 
looked  last  summer?  Well, 
look  at  me  now  .  .  .  Look 
At  Mel!!"  His  vis-a-vis  looks 
— and  if  looks  could  kill .  .  . 


Page  Thirty-Six 


ICE-CREAM  SODA 
Poets  rhyme  "love"  with  "dove"  and 
"stars  above"  but  George-of-the-soda- 
counter-in-any-drug-store  (you  see  one  of 
lum  glowering  below)  would  rhyme  it 
with  "shove."  He  would  tell  you  that 
these  "calf-lovers"  are  a  menace  to  his 
business.  They  sit  and  sip  and  smirk  for 
hours  at  a  stretch.  "They're  public  nui- 
sances," says  George — and  we,  being  in 
the  crabbed,  thirties,  agree  with  him.  We 
have  forgotten  that  once-upon-a-time  we 
looked  into  Her  face  at  a  soda-counter, 
our  heart  singing,  "Drink  to  me  only 
with  thine  eyes."  Or  was  it  that  less 
elevating  ditty: 

"The  prettiest  girl  I  ever  saw 
Was  sipping  soda  thru  a  straw." 


HOT  CHOCOLATE 

Any  dietician  will 
tell  you  that  one 
cup  of  hot  chocolate, 
with  three  lumps  of 
sugar,  and  topped  by 
a  four-inch  pyramid 
of  Grade-A  whipped 
cream,  will,  if  taken 
twice  a  day,  increase 
the  scale  register  of 
those  under  weight 
from  three  to  seven 
pounds  a  week — thus 
increasing  the  at- 
tractiveness of  the 
weighee.  But,  alas! 
it  is  always  the  over- 
plump  damsel  who 
indulges  in  the  bev- 
erage so  rich  in  car- 
bohydrates, and  asks 
for  more 


CEREAL  COFFEE 
What  is  wrong  with  the  above  picture?  You  see  a  chic  French  maid  present- 
ing her  mistress  with  a  coffee  service  for  two.  The  hostess  obviously  is 
embarrassed;  the  guest  is  puzzled  What  ghastly  thing  has  happened?  Is 
there  a  crack  in  His  Reverend's  cup?  Is  there  a  fly  in  the  cream?  No, 
indeed.  The  guest  has  just  remarked,  reprovingly,  that  he  never  partakes  of 
stimulants  in  any  form — that  he  drinks  only  cereal  coffee.  How  should  the 
hostess  meet  this  situation?     How  would  you  meet  it? 


s  ■   tS 


tS     ,\4<i-\      '}.-      —i  niniii'yUiiti' .,  .    _ 


PINK  LEMONADE 

Scene — Circus  Grounds 

Characters — Lemonade  Vendor,  Popper, 

Bobby,  Baby 

Lemonade  Vendor:  Here's  your  pinkest  lem~ 


i-i-i-ce  cold  .  .  .  fi-i-i-ve  centsaglass! 
I  wannanother  drinkuvit,  popper. 
No!    You've  had  three  and  you'll  be 
then    what    will    your    mommer   say 


onade  .  .  , 

Bobby: 

Popper: 
sick,  and 
to  me? 

Bobby:   Wa-a-a-a-w,  wa-a-a-a-a-a — 

Baby:   Ya-a-a-a-a-h,  ya-a-a-a-a — 

Popper:  //  /  once  get  these  young'uns  home, 
I'll  never  take  'em  out  again! 

(Chorus  of  Bobby  and  Baby  and  the  Lemon- 
ade Vendor.) 


Page  Thirty-Seven 


MzzLMl^: _ 


Photo  by  Victor  Georg 


LAURETTE  TAYLOR 

To  the  gratification  of  her  many  admirers,  Miss 
Taylor  will  bring  the  much-beloved  "Peg  o'  My 
Heart"  to  the  screen  in  the  not  distant  future 


Page  Thirty-Eight 


Insects,  Actors,  and  Frankensteins 

Broadway  Sees  Some   Remarkable  Heroes  in  Some  Still  More  Remarkable  Plays 

B;y  Kenneth  Macgowan 


JUST  twenty  seasons  ago  Broadway  fed  upon  A 
Royal  Rival,  Don  Ccrsar's  Return,  If  I  Were  King, 
The  Helmet  of  Navarre,  Alice  of  Old  Vincennes,  A 
Gentleman  of  France,  and  Monsieur  Beaucaire.  The 
solidest  fare  that  it  could  stomach  that  year  was  A  Mes- 
sage from  Mars — and  two  plays  in  which  certain  young 
players  named  David  Warfield  and  Maude  Adams  were 
beginning  to  attract  attention:  The  Auctioneer  and  Qual- 
ity Street. 

Some  time  in  the  winter  of  1902  somebody  or  other 
recklessly  gave  two  performances  of  an  odd  thing  called 
Pelleas  and  Mclisande,  and  two  performances  of  a  reck- 
less attack  upon  society  known  as  A  Doll's  House.  A 
visiting  star  acted  Magda  a  few  times  in  repertory,  and 
Mrs.  Patrick  Campbell  managed  to  drag  out  a  run  of 
fourteen  nights  in  another  play  by  that  eminent  second- 
rater,  Hermann  Sudermann :  The  Joy  of  Living.  That 
was  the  sum  of  serious  Continental  drama  presented  to 
New  York  in  the  eight  months  of  the  season  of 
1901-1902. 

In  the  thirty-one  days  of  October,  1922,  Broadway 
has  turned  up — besides  two  rather  tedious  and  thoroly 
artistic  dramas  from  France  and  Spain — an  Italian  com- 
edy and  two  Czecho-Slovak  dramas  of  devastating  orig- 
inality. These  five  are  Paul  Geraldy's  To  Love,  the 
Quintero  Brothers'  Malvaloca,  Pirandello's  Six  Char- 
acters in  Search  of  an  Author,  Karel  Capek's  R.  U.  R., 
and  The  World  We  Live  In,  by  Karel  and  his  brother 
Joseph. 

The  World  We  Live  In  is  a  bitter  satire  on  humanity 
in  the  terms  of  the  lowest  forms  of  animal  life.  R.  U.  R. 
is  a  mordant  and  powerful  labor-tract  showing  the  red 
revolution  that  comes  when  workers  are  only  machines. 
Six  Characters  in  Search  of  an  Author  is  a  comedy  on 
the  conventions  of  the  theater  plus  a  dramatic  disserta- 
tion on  what  the  philosophers  call  "identity"  or  "reality 
of  experience." 


The  cast  of  characters  in  The  World  We  Live  In  is  a 
list  of  insects.  The  dominant  figures  in  R.  U .  R.  are 
Frankenstein  workmen  called  "robots"  and  stamped  out 
by  machinery.  The  principals  in  the  Italian  piece  are  six 
characters  from  an  unknown  dramatist's  brain  who  in- 
vade the  theater  looking  for  someone  to  write  their  story. 

A  mad  mimic  world,  my  masters,  but  a  most  interest- 
ing one. 

It  is  a  bit  of  rather  extraordinary  internationalism 
which  unites  William  A.  Brady  and  the  Theatre  Guild 
with  these  two  dramas  of  the  Capeks  of  farthest  Prague 
— either  of  them  a  play  that  would  make  a  pretty  good 
text  for  a  bolshevist  political  speech. 

R.  U.  R.,  the  one  the  Theatre  Guild  is  responsible  for 
importing,  is  a  good  deal  more  like  a  dramatization  of 
the  Communist  Manifesto  of  1848  than  of  Mary  Woil- 
stonecraft  Shelley's  Frankenstein.  It  shows  us  a  pic- 
ture of  what  the  communists  tell  us  our  world  now  is. 
Labor  has  become  a  machine — it  has  become  the  machine 
of  a  machine.  For  the  purposes  of  Capek's  parable,  this 
machine  is  a  manlike  figure  invented  by  one  Rossum, 
and  sold  all  over  the  world  as  Rossum's  Universal  Robot 
(hence  R.  U.  R.).  The  rulers  of  the  world  live  in  lux- 
ury and  idleness  upon  the  labor  of  the  robots.  These 
rulers  decay,  morally  and  physically.  For  one  thing, 
race  suicide  sets  in.  Is  it  so  very  different  a  picture  from 
the  painting  of  Marx  and  Engels  or  Lenin  and  Trotsky? 

At  this  point  in  the  drama — just  about  the  middle  of 
the  second  act — enters  the  battle  cry  of  the  Communist 
Manifesto:  "Workers  of  the  world  unite!  You  have 
nothing  to  lose  but  your  chains.  You  have  a  world  to 
gain."  The  robots,  who  have  been  doing  the  fighting 
of  the  nations  as  well  as  their  work,  rise  across  a  red  sky, 
and  exterminate  their  masters. 

There  is  a  certain  difficulty  here — a  difficulty  that 
Lenin  would  be  the  last  to  deny  that  he  had  encountered. 
{Continued  on  page  66) 


Sketched  by  Reginald  Marsh 

Charles  Quartermaine,  Diana  Bourbon,  Jeannette  Sherwin,  Cathryn  Young,  Felix  Aylmer,  H.  G.  Stoker  and  James 
Dale  in  Loyalties,  Galsworthy's  fine  drama  of  race  prejudice,  which  is  having  a  tremendous  success  in  New  York 


Page  Thirty-Nine 


T 


The  children  of  the  Modern  School  at  Stelton,  New 
Jersey,  made  the  three  drawings  on  this  page.  Two  are 
done  in  brilliant  crayon,  and  the  third  in  water  color. 
The  two  dancing  figures  are  in  white  against  a  vivid 
green  background  with  a  rainbow  flashing  across  the 
sky.  The  nude  figure  is  in  green  against  a  red  back- 
ground with  the  high-lights  in  yellow.  The  sketch  in 
the  lower  left-hand  corner  is  a  water  color  which  runs 
thru  the  whole  color  scale  from  red  thru  orange,  yellow., 
green,  blue  and  purple,  and  is  the  creation  of  Sammy 
Pearl,  who  is  thirteen  years  of  age.  Sammy  also  makes 
woodcuts  by  a  method  which  he  has  evolved  himself; 
some  of  his  results  are  excellent,  and  great  deal  of  his 
work  is  used  in  "Voice  of  the  Children,"  which  is  the 
magazine  written,  illustrated,  edited,  planned  and  printed 
by  the  children  of  the  school.  The  remarkable  thing  is 
that  the  children,  whose  ages  range  from  eight  to  thir- 
teen, have  had  no  training  in  art.  They  create  their  own 
designs  and  conceive  their  own  color  schemes.  The 
results  are  examined  by  the  teachers,  and  the  good 
points  are  praised;  the  bad  points  the  children  have  to 
work   over  and  find   out  the   best  way   to   correct  them 


Expressionism 

by  the 
Modern  Child 


The  idea  is  that  everything  in  art  comes  from 
within,  and  that  if  the  restriction  of  a  technique 
is  imposed  upon  an  artist,  he  may  try  to  hold 
himself  to  the  limitations  of  that  method  and 
therefore  lose  some  of  his  inspirational  values; 
whereas,  if  he  worked  out  his  own  system,  he 
tvould  give  a  clear  portrayal  of  his  artistic  con- 
cept of  a  subject.  The  children  recently  gave 
an  exhibition  of  their  work  at  the  Civic  Club 
gallery.  The  youngest  exhibitor  was  five,  and 
the  oldest  fifteen;  these  pictures  were  chosen 
from  that  exhibit.  As  a  whole,  it  was  a  re- 
markable showing,  and  lined  up  very  well  be- 
side many  of  the  "impressionistic"  exhibitions 
that  have  invaded  New  York  this  season.  Many 
of  the  older  artists  seem  to  be  trying  to  lose 
their  training  and  return  to  the  primitive — in 
most  cases  they  have  not  succeeded.  Whereas 
the  children,  having  nothing  to  forget,  approach 
their  subject  in  a  direct  and  simple  way, 
thereby    producing    a    true    primitive    concept 


Page  Forty 


The 

Modern  Child 

in  Sculpture 


CYRILS  McCORMACK 
By  Mario  Korbel 

Mario  Korbel  is  of  Cze- 
choslovak descent.-  He 
studied  at  the  Chicago  Art 
Institute  under  Lorado 
Taft.  He  has  made  some 
of  the  finest  portrait 
busts  in  America;  sev- 
eral examples  of  his  work 
are  at  the  Metropolitan 
Museum  of  Fine  Arts 
Mr.  Purdy,  of  the  Schoo 
of  American  Sculpture, 
says,  "too  much  cannot 
be  said  of  his  brilliance 
as  an  artist  or  the  bright- 
ness of  his  future."  The 
two  busts  on  this  page 
are  the  children  of  John 
McCormack 


BOBBY  (Left) 

By  Frederick  C. 

Guinzberg 

The  young  Ameri- 
can sculptor,  who 
made  this,  went  to 
the  Art  Students 
League,  giving  up 
his  work  to  go  to 
war;  he  later  re- 
turned to  it  and 
has  exhibited  in 
Paris 


HEAD.  OF  AN 

AMERICAN  BOY 

By   Polygnatis    Vagis 

This  young  Greek  sculp- 
tor studied  at  the  Beaux 
Arts  Institute  of  Design. 
For  a  time  he  was  assist- 
ant to  Gutzon  Borglum. 
Two  years  ago  he  exhibit- 
ed at  the  National  Acad- 
emy, and  this  year  his 
work  has  been  shown  at 
the  Art  Center 

CHILDREN    OF    MR. 

AND  MRS.  E.  SPENCER 

MACKY 

By  F.   Petrie   Collin 

Dr.  Collin  is  a  practising 

physician    as    well    as    a 

sculptress 


GWEN 

McCORMACK 

(Right) 

By    Mario    Korbel 


Page  Forty-One 


Madame  Louise 
Homer  Stires  has  a 
rich  musical  inherit- 
ance, and  her  delight- 
fully clear  soprano 
voice  has  lyrical  qual- 
ities that  make  it  one 
of  great  promise.  Her 
success  in  recitals  with 
her  mother,  for  many 
years  leading  contralto 


The  world  of  the  the- 
ater contributes  many 
instances  of  talent  in 
the  second  generation. 
Among  them,  Marjorie 
Kummer,  ivhose  first 
notable  success  as  an 
actress  was  achieved 
in  her  mother's  bril- 
liantly witty  play, 
"Rollo's  Wild  Oats." 
As  a  writer  of  clever 
dialog  for  the  theater, 
Clare  Kummer  has 
few  rivals,  as  those 
who  recall  "A  Suc- 
cessful Calamity," 
"Good  Gracious  Anna- 
bel," and  "The  Moun- 
tain Man"  will  testify 


with  the  Metropolitan, 
but  now  identified  with 
the  Chicago  Opera 
Company,  is  also  due 
in  no  small  measure 
to  the  charming  com- 
positions of  her  father 
that  are  almost  invari- 
ably   a    part    of    each 


The  poems  of  Grace 
Hazard  Conkling  and 
those  of  her  small 
daughter,  Hilda,  are 
strongly  individual- 
istic in  spite  of  the 
bond  of  kinship. 
W  here  Mrs.  Conkling's 
verse  is  dominated  by 

quaint  whimsical 
quality,  Hilda's  is 
often  characterized  by 
emotional  impulse 
written  with  an  unerr- 
ing instinct  for  ex- 
pression. Mrs.  Conk- 
ling's "Afternoons  of 
April"  has  recently 
been  reissued,  while 
Hilda's  second  vol- 
ume, "Shoes  of  the 
Wind,"  has  just  come 

from  the  press 


Page  Forty-Two 


The  World's 
Greatest 

Failures 

Many  of  whom  would  like,  with  old 
Omar,  "to  grasp  this  sorry  scheme  of 
things  entire  .  .  .  and  then  remold 
it  nearer  to  the  heart's  desire  .  .    '\ 

By  Maurice  S.  Sullivan 

Sketches  by  Eldon  Kelly 


SARAH  BERNHARDT,  the  great  French  novel- 
ist, Mary  Garden,  the  detective,  and  Charles 
Chaplin,  the  eminent  tragedian,  were  chatting. 

"What,"  asked  Chaplin  of  the  novelist,  "do  you 
think  of  the  art  of  Joseph  Jefferson?" 

The  Bernhardt  was  positive  in  her  opinion. 

"He  made  a  serious  mistake  in  painting  pastorals. 
He  should  have  done  portraits." 

"What  nonsense  is  this,"  you  ask,  "Bernhardt  a 
novelist,  Garden  a  detective,  Chaplin  a  tragedian, 
and  Jefferson  a  painter?" 

This  may  seem  nonsense  to  you,  but  it  would  not  to 
the  persons  mentioned.  If  their  ambitions  were  realized, 
Bernhardt,  Garden,  and  Chaplin  might  meet  as  novelist, 
detective  and  tragedian ;  and  had  the  goal  of  Joseph 
Jefferson  been  attained  they  might  discuss  his  canvases. 


Mary  Garden  would  like  to  wear  a  shiny  badge  and  catch  burglars  in  their  act 


Charles  Chaplin  longs  to  wear  the  garb  of  Hamlet  and,  papier- 
ruache  skull  in  hand,  intone  Shakespeare's  famous  soliloquy 

These  four  are  but  modern  instances  of  persons  who 
are  leaders  in  their  own  art,  craft  or  profession,  ardently 
desiring  to  excel  in  another  field  often  far  removed  from 
their  own.  History  records  the  names  of  many  such, 
from  ancient  emperors  down  to  the  mimes  of  the  movies. 

Sarah  Bernhardt,  who  shares 
,  with  Duse  preeminence  on  the 
^emotional  stage,  greatest  in 
popular  estimation,  wishes  to 
conquer  in  the  world  of  letters. 
She  has  written  her  first  novel, 
The  Idol  of  Paris.  It  is  not  an 
autobiography,  as  the  title  might 
lead  one  to  suppose. 

Mary  Garden,  among  the 
leaders  in  grand  opera,  would 
like  nothing  better  than  to  have 
a  shiny  badge  pinned  on  her 
bosom,  certifying  to  the  world 
that  she  is  a  duly  qualified  and 
authorized  special  investigator. 
In  Los  Angeles  recently  she 
confessed,  thereby  startling  her 
most  intimate  friends. 

"Women,"  says  Miss  Garden, 
"are  naturally  curious,  and 
therefore  might  have  great  suc- 
cess in  detective  work." 

It  should  be  a  pleasure  to  be 
investigated  by  Miss  Garden. 
One  would  almost  get  into 
trouble  purposely  for  the  sake 
of  boasting  that  he  was  being 
trailed  by  such  a  famous  person ! 


Page  Forty-Three 


SkJADOWLAND 


Chaplin's  friends  know  he  harbors  a  plot  to  snatch  the 
wreath  from  the  brow  of  Walter  Hampden.  He  is  serious 
in  his  belief  that  he  can  play  Hamlet  superlatively.  Great 
critics  of  dramatic  art  are  beginning  to  acknowledge  that 
Chaplin  is  without  a  peer  in  his  own  field ;  that  he  is  not 
a  mere  buffoon,  but  a  consummate  artist.  Yet  despite 
what  would  seem  discouraging  handicaps,  he  cherishes 
a  hope  that  some  day  he  will  pace  the  stage  and,  amid  an 
awesome  hush  ask  himself  whether  "  'tis  noblejf*  in  the 
mind  to  suffer  the  slings  and  arrows  of  outrageous  for- 
tune or  to  take  arms  against  a  sea  of  troubles  and,  by 
opposing,  end  them." 

In  other  days  he  played  a  page  in  a  Shakespearian  play. 
It  may  be  he  did  not  do  so  well,  and  now  desires  to  show 
those  persons  who  once  sniffed  at  the  hoi  polloi  stricken 
with  mirth  at  the  very  sight  of  his  feet.  At  home  he  is 
the  litterateur  and  student  of  the  drama. 

From  early  times  men,  whom  exceptional  ability  or 
chance  has  placed  in  high  places,  have  looked  wistfully 
upon  the  fame  possessed  by  others. 

Francis  Bacon  writes  of  Adrian,  "the  emperor  that 
mortally  envied  poets  and  painters  and  artificers  in  works 
wherein  he  had  a  view  to  excel." 

Kings  and  emperors,  looked  up  to,  with  envy,  by  their 
subjects,  often  have  burned  with  envy  of  those  same 
subjects.  The  Roman  Emperor  Nero  made  himself  ridicu- 
lous in  trying  to  achieve  success  as  a  poet.  His  courtiers 
and  other  hangers-on  flattered  him  outrageously  until  he 
began  to  believe  Homer  himself  had  a  purple-clothed 
rival.  History  records  little  of  Nero's  literary  efforts 
except  that  they  were  decidedly  mediocre. 

Caligula  also  thought  to  bring  added  laurels  to  the 
imperial  brow.  The  qualities  of  his  physique  rather 
than  of  his  mind  impressed  Caligula.  With  such  noble 
muscles  swelling  under  his  toga,  he  could  not  endure 
seeing  victorious  gladiators,  adored  by  patrician  ladies. 
So  Caligula  descended  to  the  arena  and  himself  gave 
battle  for  the  favors  of  feminine  lovers  of  sport.  It  was 
as  if  President  Harding  should  don  a  pair  of  "trunks" 
decorated  with  the  stars  and  stripes  and  enter  the  ring 
with  Jack  Dempsey.  When  one  considers  that  emperors, 
even  of  late  years,  were  somewhat  particular  about  their 
associates,  in  public,  at  least,  the  enormity  of  Caligula's 
debasement  is  appreciated.  Far  from  gaining  honor  in 
the    arena , 

Caligula  ac-  

quired  only 
contempt. 

Frederick 
the  Great  of 
Prussia  was 
another  ruler 
who  yearned 
to  become  no- 
table in  the 
history  of  lit- 
erature. He 
gathered 
about  him 
men  of  fame 
in  letters,  in- 
cluding Vol- 
taire, to  learn 
the  mechanics 
of  successful 
writing. 
While  osten- 
sibly patron- 
izing literary 
men,  he  was 
trying  to  de- 
velop his  own 
suppositious 


Sarah  Bernhardt's  secret  ambition  is  to  be  known  as  a  successful  novelist 


abilities,  and  men  eager  to  read  him  their  latest  pro- 
ductions found  Frederick  eager  to  read  his  own  first. 
One  may  easily  understand  the  envy  of  a  king  for  a 
master  of  literature,  for  many  a  king's  fame  is  and  was 
inferior  to  the  fame  of  a  subject.  But  a  king  of  France 
nourished  an  ambition  not  so  likely  to  result  in  the  plaudits 
of  posterity.  Louis  XVI  fancied  himself  as  a  locksmith! 
Perhaps  there  were  a  few  objectionable  gentlemen  to  be 
hanged,  and  one  craved  an  audience  with  His  Majesty, 
as  he  had  rather  good  reasons  for  believing  himself  inno- 
cent. His  Majesty  was  busy  repairing  the  work  on  the 
pantry  door,  and  could  not  be  disturbed.  Perhaps  the 
ambassador  from  Albion  awaited  without.  His  Majesty 
presented  his  compliments,  and  requested  his  noble  visitor 
to  step  around  to  the  toolhouse. 

Another  example  among  royalty  was  the  Prince  of 
Monaco.  Almost  everyone  knew  that  Monte  Carlo,  the 
celebrated  gambling  resort,  was  conducted  by  the  prince. 
Few  were  aware  that  he  bore  on  his  breast  an  American 
decoration  for  his  achievements  in  science.  He  contributed 
much  to  our  knowledge  of  the  ocean  bottom;  its  topog- 
raphy, creatures,  and  flora.  He  invented  a  diving-bell 
capable  of  withstanding  tremendous  pressure.  A  useful 
potentate,  the  Prince  of  Monaco.  He  took  money  from 
persons  who  didn't  know  how  to  care  for  it  and  devoted 
it  to  increasing  mankind's  store  of  knowledge. 

There  have  been  American  kings  whose  royal  bliss 
was  alloyed  with  envy.  The  case  of  Frank  Gotch,  the 
ruler  of  wrestlers,  was  sad.  Gotch  was  the  champion 
wrestler  of  the  world,  and  there  are  many  who  would 
rather  be  that  than  King  of  England.  But  Gotch  was  not 
happy.  Why,  reasoned  he,  did  he  not  have  two  crowns, 
when  it  was  apparent  that  he  had  the  toughest  muscles 
in  all  Christendom?  He  was  jealous  of  another  king, 
the  champion  boxer  of  the  world.  Gotch  decided  to  win 
that  title  too.  Just  to  get  practice  he  entered  the  prize 
ring  with  a  second-rate  fighter.  It  seemed  but  a  stepping- 
stone  to  his  new  kingdom ;  but  alas !  he  was  ingloriously 
knocked  out. 

What  impels  men  to  look  with  longing  eyes  upon  the 
laurels  of  others  when  their  own  heads  bear  proud  cor- 
onets? Vanity,  envy,  and  ambition  seem  to  be  the  dom- 
inant motives.  It  is  certain  that  Nero  was  actuated  by 
vanity,  Hadrian  by  envy.     Chaplin  doubtless  is  honestly 

ambitious. 

How  this 
ambition, 
when  unat- 
tained,  eats  at 
the  heart  of 
the  ambitious 
one,  is  vivid- 
ly illustrated 
in  The  Jonr- 
n  a  I  of  a 
Disappointed 
Man,  a  book 
written  by  W. 
N.  P.  Bar- 
bellion,  and 
prefaced  bv 
H.  G.  Wells'. 
Barbellion,  a 
competent 
English  nat- 
uralist, re- 
cords his 
longing  to  be- 
co  m  e  a  fa- 
mous writer, 
and  his  fail- 
(Cont'd  on 
page  77) 


Page  Forty-Four 


Photo  ©  by  James  Wallace  Pondelicek 


THE  SWORD 

Mile.  Theo  Hewes,  assisted  by  M.  Syman- 
ski,  in  a  picturesque  Oriental  dance 
developed  from  an  old  Japanese  legend 


Page  Forty-Five 


Art  Comment 


CUBISM,  according  to  Louis  Bouche,  is  doomed. 
France,  the  land  of  its  birth,  is  repudiating  it  and 
returning  to  first  principles  and  realism.  Whether 
the  younger  modernists  became  tired  of  its  difficult  angles 
or  whether  the  appearance  in  this  year's  Salon  of  Geome- 
trism,  fathered  by  the  Spanish  painter  Picabia,  who  also 
was  responsible  for  Dadaism,  pointed  a  formless  or  per- 
haps mathematical  finger  in  the  direction  toward  which 
they  were  going,  proved  too  much  for  their  artistic  eyes 
will  never  be  known.  However,  the  fact  remains  that  real- 
ism is  once  more  in  evidence.  To  prove  that  his  statement 
is  correct,  Mr.  Bouche  will  hold  an  exhibition  of  the  young 
French  modernists,  in  March,  in  the  Belmaison  Gallery, 
which  he  has  promised  will  be  representative  and  com- 
prehensive. 


Mile.  Cecile  Sorel  has  evidently 
for  she  has  sold 
all  her  furniture, 
her  art  treasures 
and     everything 
she  had  collected 
for    her    eigh- 
teenth   century 
house.      "One 
needs,"  she  said, 
"to  change  one's 
skin  every  so  of- 
ten."    Her  new 
skin  is  to  be  a 
Rena  i  s  sance 
country  house 
and     a     modern 
house    in   town. 
Emulating     the 
example  of  Ma- 
dame   Pompa- 
dour, she  is 
gathering  her  ar- 
tist    friends     to 
help   plan   her 
scheme    of    dec- 
orations. In  fact, 
Mile.    Sorel  has 
had  quite  an  ar- 
tistic   year,    for 
Eugene    Carrol- 
Kelley,  the  Chicago  artist,  made 
a    series    of    pastel    studies    of 
this  Comedie  Franchise  comedi- 
enne.     Most    of    the    drawings 
were  made  either  in  the   loge 
or  in  her  dressing-room.     Per- 
haps  the  influence  of  her  recent 
noticed  when  her  new  houses  are 


felt  the  artistic  unrest, 


"THE  OAKS" 
By  Sophie  Marston  Brennan 
Here  is  art  weighted  with  the  purpose  of  nature,  not 
landscape  that  has  been  dreamed,  but  a  creative  han- 
dling  of   sunlight   and   shadow,   a   physical   quality   in 
a  forest  branch  and  a  pictorial  quality  in  atmosphere 


American  trip  will  be 
complete. 


Walter  Biggs  has  decided  that  his  teaching  at  the 
Washington  Square  School,  which  recently  broke  away 
from  the  Artists'  League,  and  his  illustrating  work  isn't 
enough  to  keep  him  busy,  so  he  has  started  an  evening 
class  at  his  studio,  one  night  a  week.  Only  a  chosen 
few  are  asked  to  attend. 


Temperament  seems  to  be  affecting  the  artists  this 
season  ;  Haley  Lever  and  George  Luks  went  to  Pittsburgh 
on  a  committee.     Just  what  it  was  about  the  Pittsburgh 


scenery  that  attracted  Mr.  Lever  is  a  difficult  thing  to  say. 
However,  it  did,  and  he  left  Mr.  Luks  to  make  the  return 
trip  alone  while  he  stayed  on  several  weeks  painting 
furiously.  The  results  are  awaited  with  interest  both  by 
Mr.  Luks's  and  Mr.  Lever's  large  and  appreciative  public. 


The  staying  habit  also  hit  John  Sloan,  who,  sometime 
last  summer  went  to  Taos,  New  Mexico,  planning  to  stay 
two  weeks.  But  that  fascinating  place  proved  his  undoing. 
He  stayed  four  months.  Meanwhile  his  classes  at  the 
Artists'  League  had  to  commence  without  him.  Homer 
Boss  came  to  the  rescue,  and  work  at  the  League  went 
merrily  on  in  spite  of  Mr.  Sloan's  absence. 


Now  that  Mr.  Sloan  has  returned  and  taken  over  his 

classes  it  is  quite 
probable    that 
Homer  Boss 
will    give   a    se- 
ries of  twelve 
lectures    at    the 
League  on  anat- 
omy.    Mr.  Boss 
studied  under 
Clifford    Beale, 
who  was  a  pupil 
of  Anschutz,  the 
originator    of 
this     particular 
style  of  teaching 
anatomy.    Mr. 
Boss  starts  with 
a    skeleton    and 
builds   up   the 
muscular  system 
with    clay.      By 
the  time  the 
course    is    com- 
pleted the  pupils 
have    positive 
knowledge    of 
the  structure  of 
the  human  body, 
the  shape  and 
size  of  the  mus- 
cles   and    exactly    what    their 
functions  are.     This  is  a  new 
method    of    teaching    anatomy 
here,  but  has  been  a  hobby  of 
Mr.  Boss  for  several  years ;  in 
fact,   he   gave   up   his   portrait 
painting  for  a  time  to  master  it  thoroly.  Mr.  Boss  was  one 
of  the  charter  members  of  the  Independent  Society  of 
Artists. 

%z  ^  ^c 

There  is  a  rumor  that  Wladyslaw  T.  Benda,  whose 
exotic-looking  women  with  inscrutable  eyes  add  so  much 
charm  to  the  illustrative  world,  is  to  have  an  exhibit. 
The  only  thing  that  has  been  keeping  Mr.  Benda  from 
having  one  is  that  he  thinks  it  is  too  much  work.  He 
absolutely  refuses  to  make  the  arrangements  for  it,  but 
now  some  good  Samaritan  has  come  forward  and  offered 
to  take  the  details  off  his  shoulders  if  he  will  supply  the 
material.  If  it  takes  place,  it  will  not  only  include 
Mr.  Benda's  illustrations,  but  his  posters,  murals  and 
(Continued  on  page  71) 


Page  Forty-Six 


Sculpture  in  Porcelain 

Five  Examples  of  that  Beautiful  and  Difficult  Ceramic  Work  Called  Pate-sur-pate 


Lois  Whitcomb  Rhead  is  the  young 
sculptor  who  created  these  charming 
figures  in  ceramic  sculpture.  Mrs. 
Rhead  is  a  member  of  the  National 
Association  of  Women  Painters  and 
Sculptors,  at  whose  exhibit  her  things 
were  shown.  Altho  Pate-sur-pate  is 
one  of  the  most  difficult  mediums  to 
work  in,  consisting  of  a  cutting  proc- 
ess, similar  to  a  cameo,  thru  layers 
of  white  porcelain  which  have  been 
superimposed  on  a  blue  base,  Mrs. 
Rhead  has  chosen  to  specialize  in  it, 
and  the  results  she  obtains  of  white 
bas-relief  against  blue  are  exquisite. 
She  has  studied  under  Conrad  Dress- 
ier, Leon  V.  Solon  and  Frederick  H. 
Rhead,  who  was  a  pupil  of  Taxile 
Doat.  Taxile  Doat,  the  famous  French 
maker  of  ceramics,  adopted  the  Pate- 
sur-pate  process  after  it  had  been  de- 
veloped in  the  Royal  Manufactory  of 
Sevres.  Mrs.  Rhead  has  also  ex- 
hibited at  the  Architectural  League, 
The  Art  Institute  of  Chicago,  and  the 
San  Francisco  Museum  of  Fine  Arts 


Page  Forty-Seven 


The  ballet  ensemble  against  the  Cubistic  background  of  colorful  patchwork  and  three-dimensional  vistas 

The  Buffoon  Ballet  of  Larionow 

A  Russian  Fable  Transformed  by  Color  and  Movement  into  a  Glorified  Absurdity 

By  Barrett  H.  Clark 


IN  the  early  days,  long  before  America  had  heard  of 
Cezanne  or  had  a  Greenwich  Village  of  its  own,  a 
picturesque  group  of  young  revolutionary  artists,  led 
by  Michael  Larionow,  founded  a  society  in  Moscow 
whose  professed  purpose  it  was  to  accept  all  that  was 
new  and  reject  the  traditions  of  the  past.  Their  mani- 
festos and  expositions — not  to  mention  their  antics  in 
public — scandalized  the  old,  but  roused  the  enthusiasm 
of  the  young.  New  schools  succeeded  one  another  so 
fast  that  even  Larionow  could  not  remember  all  the  isms 
which  he  inaugurated  or  those  in  which  he  participated. 

After  fifteen  years  of  experimentation,  it  chanced  that 
he  was  given  a  definite  piece  of  work  to  do,  a  work  that 
demanded  specific  effects,  designed  for  actual  use  in  a 
theater.  This  was  the  Soleil  de  Minuit,  produced  by  the 
Diaghilev  Russian  Ballet  in  1915.  It  was  a  triumph  for 
Larionow  and  marked  a  turning-point  in  the  Russian  bal- 
let— the  theorist  forgot  his  theories  and  gave  free  rein  to 
his  instinctive  passion  for  color,  for  strong  and  even  vio- 
lent contrasts,  and  to  his  love  of  movement  and  rhythm. 

Larionow's  next  ballet  was  Conies  Russes,  produced 
in  1917.  It  too  created  a  sensation,  tho  the  critics  were 
antagonized  because  he  "mixed  symbolism  with  realism" 
and  "defied  all  the  canons  of  art  in  his  juxtaposition  of 
colors." 


Following  Contes  Russes,  came  the  most  strikingly 
original  ballet  of  all — Chout,  or  The  Buffoon.  It  is  a 
Russian  Legend  in  Five  Tableaux,  and  the  story  goes: 

Once  upon  a  time  there  was  a  Buffoon  and  his  wife. 
The  Buffoon  racks  his  brains  for  some  trick  to  play  on 
the  other  buffoons.  All  of  a  sudden  an  inspiration  oc- 
curs to  him : 

"Listen,"  he  says  to  his  wife;  "I  am  expecting  seven 
buffoons.  I  will  order  you  to  prepare  dinner,  you  will 
refuse  and  I  will  pretend  to  kill  you.  Then  I  will  strike 
you  with  this  whip  and  you  will  revive.  In  that  way  we 
can  sell  the  whip  for  a  high  price." 

No  sooner  said  than  done.  The  seven  buffoons  ar- 
rive, witness  the  miracle,  buy  the  whip,  and  return  home. 

The  buffoons  then  kill  their  wives  and  try  the  whip, 
but  the  wives  make  no  move. 

The  seven  buffoons  then  decide  to  kill  the  Buffoon, 
but  the  latter,  fearful  of  their  wrath,  disguises  himself  as 
his  own  cook.  The  buffoons  are  furious  at  the  disap- 
pearance of  the  culprit,  but  as  they  are  pleased  with  the 
cook,  they  carry  her  off,  determined  to  keep  her  until 
they  find  her  master. 

Now  the  seven  buffoons  have  seven  daughters.  A 
wealthy  merchant  arrives  to  choose  him  a  wife.  But  the 
rich  man  chooses  the  cook,  and  carries  her  off.     That 


Page  Forty-Eight 


Sliadowland 


night  the  poor  Buffoon  is 
at  his  wits'  end.  He  finally 
begs  the  merchant  to  allow 
him  to  disappear  out  of  the 
window  for  a  moment. 
The  merchant  ties  a  sheet 
round  him  and  lets  him 
down  to  the  ground.  But 
when  the  sheet  is  pulled 
up,  lo  and  behold,  there  is 
only  a  goat  on  the  end  of  it ! 

Suddenly  the  Buffoon 
marches  in,  followed  by 
seven  soldiers,  demanding 
his  cook.  The  buffoons 
offer  to  give  him  the  goat, 
whereupon  the  Buffoon 
orders  their  instant  arrest. 
The  merchant  must  pay  a 
fine  of  a  hundred  rubles. 
The  Buffoon  and  his  wife 
return  home  in  high  glee. 

In  the  production  of  this 
ballet  the  curtain,  a  riotous 
symphony  of  gorgeous  non- 
sense, rises  on  a  delightful 
Cubist  setting:  reds  and 
yellows  and  blues  seem  to 
be  thrown  about  at  ran- 
dom, three-dimensional 
vistas  crudely  painted  on 
flapping  canvas  running  off 

in  every  direction.  In  the  midst  of  this  patchwork  we 
see  the  Buffoon  and  his  wife,  themselves  bright  patches 
in  the  midst  of  other  bright  patches.  They  begin  to 
dance:  it  is  Cubistic  dancing,  thoroly  nonsensical  and 
delightful. 

The  Prokofieff  music  is  as  odd  and  apparently  mean- 
ingless as  the  costumes  and  settings  and  dances. 

"This  is  absurd,"  you  say  to  yourself,  and  laugh. 


But  this  is  precisely  what 
Larionow  intended  you 
should  do.  You  laugh  be- 
cause the  drawing  of  the 
scenery  is  off  center,  be- 
cause the  Buffoon  is  awk- 
ward, because  the  music  is 
"crazy,"  but  you  laugh. 
The  room  is  not  a  rcom  at 
all,  and  the  stove  is  the 
sort  of  thing  a  child  of  six 
might  execute.  The  great 
gold  coins  which  the  buf- 
foons give  to  the  Buffoon 
for  the  whip  are  like  large 
wedding-cakes. 

You  are  not  for  a  mo- 
ment deceived ;  it  is  all  so 
deliciously  childlike,  so 
transparent,  that  you  for- 
get to  analyze  and  to 
judge.  Larionow  realizes 
that  a  stage  is  not  a  picture 
but  a  stage,  and  he  will  tell 
you  that  the  essential  spirit 
of  a  ballet  or  a  play  is  to 
be  got  out  of  the  ballet  or 
play,  and  not  out  of  any 
picture  that  may  be  set  on 
the  stage;  for  him  the  set- 
ting and  costumes  are  sim- 
ple means  to  an  end;  they 
must  serve  at  most  to  accentuate  what  is  happening  on 
that  stage.  You  must  therefore  judge  a  setting  by  its 
spirit,  which  is  and  must  be  produced  by  means  totally 
different  from  what  goes  to  the  making  of  a  picture  in 
a  gallery. 

The  spirit  of  Chout  is  not  "picturesque,"  it  is  not  static, 
or  intellectual :  the  little  fable  is  high  nonsense ;  absurdity 
{Continued  on  page  73) 


Above,  two  of  the 
seven  buffoons  look- 
ing on  in  amazement 
at  the  Chief  Bufoon 
who,  having  killed  his 
wife,  brings  her  to  life 
at  a  stroke  of  a  magic 
whip 


Here  are  the  chief 
Buffoon  and  his  wife, 
who  are  so  pleased 
with  the  success  of  the 
shrewd  trick  they  have 
played  upon  their 
friends  (winning 
thereby  one  hundred 
rubles)  that  they  pro- 
ceed to  perform  a 
thoroly  nonsensical 
and  delightful  Cubistic 
dance 


Page  Forty-Nine 


1 


Posed  by  Wanda  Grazer  for  Howard  C.  Cloyes 


THE  WIND 


Who  has  seen  the  wind? 

Neither  I  nor  you: 
But  when  the  leaves  hang  trembling, 

The  wind  is  passing  thru. 


Who  has  seen  the  wind? 

Neither  you  nor  I: 
But  when  the  trees  bow  down  their  heads, 

The  wind  is  passing  by. 

■  — Christina  Georgina  Rossetti. 


Page  Fifty 


Portrait  of  a  Woman  of  Forty 

"I  am  happier  at  forty  than  I  was  at  twenty.     For  I  now  hold  what 
I  then  only  hoped  for — and  now  I  do  what  I  then  only  dreamed" 

By  Helen  Woljeska 


WE  usually  are  classified  as  young  women  and 
old   women.      This   is   just   as   tho   one    should 
classify  roses  as  budding  ones  and  fading  ones 
— leaving  out  those  that  glow  in  full  bloom. 

Shakespeare  was  mistaken.  There  are  three  ages 
only :  youth,  the  ascent — maturity,  the  mountain-top — 
age,  the  descent.  Some  of  us  never  reach  the  summit, 
but,  after  a  little  climb  up,  begin  to  creep  down  again. 

There  are  many  more  blossoms  than  fruits — among 
humans,  too. 

A  beautiful  maturity  is  not  the  preservation  of  a 
beautiful  youth,  but  the  growing  into  a  new  beauty. 

I  laugh  at  the  silly  legend  invented  for  and  by  brain- 
less women  that  after  a  brief  and  pretty  spring  we  have 
to  fade  with  good  grace — or  make  ourselves  ridiculous. 
The  pretty  spring  is  nothing  compared  to  the  glowing 
summer,  the  superb  autumn — and  even  my  winter  shall 
be  beautiful.  Not  in  a  futile  attempt  to  imitate  the  gaiety 
and  romance  and  innocence  of  youth,  or  the  pride  and 
passion  and  compassion  of  maturity — but  in  the  majesty 
of  sumptuous  age,  a  body  of  ivory  and  silver,  a  spirit  of 
wisdom,  forgiveness,  irony  and  peace. 

Perhaps  the  fading  of  one's  body  is  to  prepare  one 
gradually  for  an  existence  altogether  without  it?  Oh, 
you  long,  cream-colored  body  of  mine,  you  coppery  hair 
and  yellow  eyes — I  shall  be  sorry  to  part  with  you. 

Everybody  consists  of  earth  and  flame,  and  during 
his  lifetime  can  convert  the  one  into  the  other.  Some  of 
us  finish  by  being  clods  of  clay. 

The  difference  between  a  primitive  and  a  developed 
personality  is  the  difference  between  a  block  of  marble 
and  a  marble  statue. 

The  god  besides  whom  no  other  god  should  be  toler- 
ated is  the  deepest  I. 

How  I  stand  with  myself  is  the  important  thing,  not 
how  I  stand  with  others.   - 

To  me,  there  is  only  one  sin — violation  of  one's  own 
laws.  Every  time  one  sins  against  them,  whether  from 
base  or  noble  motives,  one  weakens  one's  essential  indi- 
viduality. And  finally  it  will  disappear  completely,  leav- 
ing nothing  but  an  empty  shell,  a  nonentity,  of  zero. 

Our  own  deepest  consciousness  is  the  only  little  part 
of  God  we'll  ever  be  able  to  grasp. 

We  all 
want  a  cen- 
ter  around 
which  to  re- 
volve. I've 
found  mine 
in  my  own 
self. 

My  body 
is  part  of  all 
other  matter, 
my  soul  is 
part  of  all 
other  spirit, 
and  whether 
I  live  or  die, 
I  remain  in 
that  union. 

As  long  as 


I  am  in  this  life  I  must  be  interested  in  my  body  as  well 
as  in  my  soul.  If  I  have  a  charming  soul,  but  fail  to  keep 
my  nails  manicured,  I  am  not  a  charming  personality. 

I  have  made  for  myself  a  little  ante-Copernican  uni- 
verse. In  its  center,  immobile  but  variable,  stands  that 
little  part  of  God  which  I  have  been  able  to  recognize — 
my  Ego.  All  the  happenings  of  life,  "good"  or  "bad," 
"physical"  or  "spiritual,"  serve  the  same  purpose  of 
revealing  to  me  more  of  God ;  of  learning  to  revolve 
about  him,  in  my  acts,  in  more  beautifully  balanced 
circles. 

By  pretending  that  we  "wish  to  make  the  world  a  bet- 
ter place  to  live  in"  or  "help  our  weaker  brethren,"  we 
flatter  ourselves  and  blur  the  issues.  Our  task  is  with 
ourselves  only.  That  way  only  can  we  eventually  help 
others.  For  a  clear,  deep,  strong  personality  will  always 
be  inspiration  and  support  to  those  he  meets. 

Freedom  is  always  within  reach  of  him  who  dares  to 
grasp  it. 

Philosophers  and  idealists,  from  Socrates  to  Malvida, 
have  simplified  the  problem  of  life,  which  is  both  phys- 
ical and  spiritual,  by  simply  dismissing  the  physical  side 
with  all  its  claims.  That,  to  me,  is  not  a  solution.  It  is 
a  shirking. 

Love  gives  the  supreme  possibility  of  creating  beauty 
and  grace  and  secret,  enchanting  things — even  when  we 
ourselves  do  not  feel  it. 

Some  people  judge  love  as  one  judges  a  piece  of  cloth, 
according  to  how  long  it  lasts.  But  love  is  a  fragile 
work  of  art,  a  rapturous  song,  a  delirious  perfume — to 
be  judged  by  its  intensity  and  fire  and  magic,  not  by 
its  durability. 

If  love  is  nothing  else,  it  can  at  least  be  an  exquisite 
experiment. 

We  must  find  a  new,  broader,  freer  way  to  love.  The 
old  one — which  made  love  an  end  in  itself — is  strewn 
with  the  victims  who  starved  and  perished  on  it.  Per- 
haps to  us  it  will  become  the  most  wonderful  way  for 
plumbing  our  own  depths  .    .    .    ? 

Some  lovers  treat  us  as  tho  we  were  a  new  cravat,  to 
be  enjoyed  and  displayed  in  fair  weather  only.  But  we 
want  to  be  our  lover's  monk-cowl,  in  closest  contact  with 
him,  enveloping  and  shielding  him  completely. 

If  you  play 
with  a  pan- 
t  h e  r  ,  you 
must  not  ex- 
pect him  to 
display  the 
virtues  of 
the  ox. 

Those  who 
build  the 
happiness  of 
their  lives  on 
love,  build  on 
q  ui  cksand. 
Love — but  do 
not  overesti- 
m  a  t  e  its 
(Cont'd  on 
page  69) 


Page  Fifty-One 


/ 


WAITING  FOR 
A  BREEZE 
By  Charles  J. 
McManus 
First  Prize 
Transparency 
and    lines    that 
lead    the    eye 
easily  from  ob- 
ject    to     object 
are  the  two  out- 
standing   fea- 
tures   of    this 
delicate  picture 


The  Camera  Contest 

Editor's  Note  :  Mr.  Mason,  who  has  written  this  month's  article, 
is  Chairman  of  the  Judging  Committee  for  The  Camera  Contest. 
He  gives  an  excellent  idea  of  the  proper  way  to  plan  a  photograph 


Page  Fifty-Tzvo 


THE  SHEPHERD  AND  HIS  FLOCK 

By  W.  H.  Zerbe 

Second  Prize 

Pastoral  with  a  pleasing  composition 


THE  STONE-CRUSHER 

By  K.  B.  Lambert 

Third  Prize 

The  building  up  of  the  composition  and  an 

air  of  activity  make  this  picture  interesting 


MADISON 
SQUARE 
By  Irving  Levy 
Honorable  Mention 
A    rather    unusual 
view     of     Madison 
Square,   broken   in 
a   most   interesting 
way  by  the  branch 
in    the   foreground 


What  Lens  Did  You  Use? 

B;y  Joseph  R.  Mason 

WHEREVER  a  group  of  camera  studies  or  photo- 
graphs are  exhibited,  persons  invariably  ask,  "What 
lens  did  you  use?"  Not  because  they  are  inter- 
ested in  the  texture  or  quality,  the  sharpness  or  the  softness 
of  the  print,  but  merely  because  the  picture,  the  subject  and 
its  arrangement,  has  attracted  them.     The  query,  then,  is 

synonymous  to 
saying:  The  in- 
telligence that 
"saw"  the  pic- 
ture was,  origi- 
nally, concealed 
somewhere  in 
the  glass  that 
composed  the 
lens. 

R  ea  s  o  n  ing 
further  along 
these  lines,  one 
would  reach  the 
conclusion  that 
the  more  costly 
the  lens  the  bet- 
ter should  be  the 
picture.  Let  us 
see  if  this  be 
true.  First,  we 
are  agreed  that 
the  camera  is  a 
light-tight  box 
and  that  light 
must     be     con- 


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*£Wf' 

mw*. 

W.       M 

r^ftSy^ 

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"M**  ■•* 

.  *~..^ 

K.      S^M 

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y 

■ 

Page  Fifty-Three 


SllADOWLAND 


lary,  and.  when  He  sees  a  picture  he  studies  the  arrange- 
ment— and  the  lighting. 

I  should  like  to  see  a  real  picture  in  which  the  basis 
is  not  composition,  first  of  all.  To  do  this,  it  is  necessary 
to  have  a  subject  or  principal  object,  and  the  remainder 
of  the  picture  subordinated  to  it. 

It  is  my  opinion  that  photography  is  the  only  business 
in  the  world  in  which  the  amateur  excels  over  the  pro- 
fessional. If  there  is  another,  I  should  like  to  know  of 
it.  The  amateur  is  constantly  striving  to  do  things 
differently,  and  he  arouses  a  desire  in  the  prospective 
purchaser  for  a  different  treatment.  The  professional, 
with  a  heavy  overhead  expense,  will  only  experiment 
when  he  is  assured  of  a  sale.  He  cannot  afford  to  waste 
time  and  material  otherwise. 

There  are  laws  that  apply  to  photography  as  well  as 
painting.  The  painter  can  use  color — it  is  impossible  for 
the  photographer  to  do  so.  He  is  restricted  to  black  and 
white  and  the  tones  thereof.  When  you  look  at  a  beau- 
tiful scene,  ask  yourself:  "Am  I  looking  at  the  arrange- 
ment or  am  I  being  tricked  with  the  coloring?" 

During  the  month  of  November  there  was  an  exhibit 
of  Mrs.  Kasebier's  prints  on  the  Pictorialists'  walls  at  the 
Art  Center.  This  exhibit  was  the  subject  of  much  praise, 
yet  she  told  us  that  some  of  these  prints  had  been  taken 
with  an  outfit  that  had  cost  exactly  four  dollars.  One  young 
man  said  that  he  wished  to  ask  her,  "What  lens  did  you 
use?"  but  at  my  suggestion  refrained  from  doing  so. 
Mrs.  Kasebier's  usual  reply  to  that  query  is:  "Some  of 
us  take  pictures  with  lenses  that  are  not  for  sale  in  the 
open  market."  Meaning  a  mental  vision.  The  model 
(Continued  on  page  68) 


STILL  LIFE:  SUNLIGHT 

By  Dr.  F.  Detlefson 

Honorable  Mention 

Lights  and  shades,  black  against  white,  make  this 

a     striking     example     of     still     life     photography 


IN  THE  SHADOW  OF  THE  CATHEDRAL 
By  C.  Kuentzel 
Honorable  Mention 
A  good  arrangement  of  angles  with  an  element  of  in- 
terest added  to  the  street  by  the  shadow  of  the  leaves 


trolled  and  can,  therefore,  be  admitted  only  at  a  given 
point.  Today  it  is  possible  to  buy  this  light-proof  box 
for  as  little  as  two  dollars. 

Our  next  consideration  is  this  piece,  or  pieces,  of  glass 
commonly  known  as  the  lens.  This  can  be  bought  for 
a  dollar  and  a  half  or  hundreds  of  dollars.  Now  we  are 
ready  to  "shoot"  the  masterpiece.  Armed  thus,  the 
aspiring  amateur  sallies  forth.  After  he  has  taken  all 
the  film  that  he  had,  he  sends  it  to  the  corner  drugstore, 
and  there  it  is  given  to  some  fellow  who  does  thousands 
of  these  rolls  in  a  day.  Back  they  come  and  the  aspiring 
amateur  sees  his  proofs.  But  something  has  happened. 
The  picture  doesn't  look  the  same. 

Maybe  about  this  time  he  sees  a  scene  similar  to  the 
one  he  had  taken — with  this  exception :  this  fellow  has  a 
picture.  Right  there  is  again  breathed  that  sigh,  "What 
lens  did  you  use?  I  took  a  scene  and  you  took  the 
same,  or  a  similar  scene ;  you  got  a  picture  and  I  didn't. 
You  had  an  intelligent  lens  and  I  didn't.  Maybe  if  I  got 
that  make  of  lens  I  could  make  good  pictures."  And 
straightway  he  goes  to  buy  another  lens.  But  somehow 
he  doesn't  get  the  masterpiece. 

Gradually  it  dawns  on  him  that  there  is  a  something 
lacking  in  his  prints  and  that  thing  is — composition. 
When  he  has  reached  that  point,  the  words  in  the  query 
about  the  lens  have  practically  passed  from  his  vocabu- 


Page  Fifty-Four 


-J 

Photo  by  Maurice  Goldberg 


As  vivid,  exotic  and  colorful  as  the  new 
"Music  Box  Revue"  itself  is  the  Oriental  dance 
number    of    Ruth    Page    and    Hubert    Stowitts 


Page  Fifty-Five 


®y  v  ^  «s?  ^  ^  ^ 


The  Misfit  Audience 


The  traveling  salesmen,  whose  business 
territory  is  the  Middle  West,  have  heard 
that  a  certain  Russian  revue  is  the  pep- 
piest show  in  New  York.  Behold  them 
endeavoring  to  register  joy  when,  instead 
of  saucy  chorus  girls  in  tantalizing  cos- 
tumes, they  find  demure  maidens  in  the 
voluminous  skirts  of  the  Russian  peasant; 
instead  of  American  jazz,  they  hear  haunt- 
ing folk  tunes;  even  the  jokes — if  there 
are  any — cannot  be  appreciated,  for  no 
word  of  English  is  spoken  on   the  stage 


tm 


From  the  outskirts  of  New  Jersey  come  Uncle  John  and  Aunt  Bessie  with 
their  niece  and  nephews  from  back  home  in  Indiana,  to  treat  them  to  a  show 
in  the  Big  City — first-row-balcony  seats.  But  as  the  curtain  falls  on  the  first 
act,  they  are  all  feeling  more  like  making  a  retreat  of  it  than  a  treat.  What 
is  this  Eugene  O'Neill  driving  at,  anyway?  And  what  was  the  High  School 
Principal  thinking  of  when  he  told  them  this  was  the  best  play  in  town? 


The  head  of  the  English  Department  of  the  University, 
with  his  wife,  introduces  the  four  new  instructors  in  the 
department  to  the  Rialto  from  an  upper  box  at  a  popular 
musical  revue.  To  these  young  men,  who  have  worked 
their  way  thru  college,  chorus  girls,  and  ultra-modern 
music  and  dancing  and  humor,  have  been  non-existent. 
The  comedies  of  Aristophanes  and  the  "Divina  Corn- 
media"  of  Dante  they  understand  and  relish,  but  come- 
dies   musical   leave    them    bewildered    and    embarrassed 


The  flapper  daughters  of  the 
rich  have  tracked  down  a 
Little  Theater  in  Greenwich 
Village,  having  been  told 
that  there  is  a  very  naughty 
Freudian  one-act  play  on  the 
program.  But  its  allusions 
go  quite  over  their  heads. 
They  try  to  disguise  their 
ignorance  by  assuming  keen 
interest  or  an  air  of  great 
sophistication 


Below,  observe  a  quartet  of 
T.  B.  M.'s  trying  to  enjoy  a  pop- 
ular domestic  farce  in  which  the 
wife  is  domineering  and  ex- 
travagant, the  children  are  pert 
and  petulant,  and  the  hus- 
band is  harassed  and  unhappy. 
The  story  lacks  novelty — it  is 
much  too  true  to  life  to  interest 
them.  They  leave  before  the 
final  act,  thereby  missing  the 
happy  ending  and  the  oppor- 
tunity to  inject  a  little  hope  for 
the  future  into  their  own  lives 


(Lxn: 


Page  Fifty-Six 


Wanderings 

The  Man  About  Town 


THE  playwriter  who  sat  and  sniggered  at  the  initial 
performance  of  the  49ers  at  the  tiny  Punch  and 
Judy  Theater  must  have  had  fellowship  with  Job, 
who  exclaimed,  "My  desire  is  .  .  .  that  mine  adversary 
had  written  a  book."  That  happy  band  of  brothers 
who  so  nobly  assist  one  another  in  the  toilsome  task 
of  trunk  trundling  gave  what  the  posters  described 
as  "a  new  form  of  entertainment."  As  a  fact,  most 
of  it  was  vieux  jcu;  at  any  rate,  what  was  new  wasn't 
good  and  what  was  good  wasn't  new.  Alexander 
Woollcot,  who  has  transferred  his  shrewd  and  com- 
petent comments  on  the  theater  to  the  Herald,  wisely 
kept  his  name  out  of  the  program,  and  was  thus  able 
to  speak  of  the  show  with  his  customary  frankness  and 
freedom. 


A  few  of  the  turns  were  downright  silly,  and  even 
the  work  of  Heywood  Broun,  one  of  the  prominent  con- 
tributors, was  far  from  entertaining.  This  may  have  been 
due  to  the  fact  that  that  excessively  proud  parent  was 
depressed  at  the  charge  recently  leveled  at  him  of  having 
written  the  worst 
novel  of  the  season. 
Certainly  his  sketch 
was  of  the  sketchiest 
description.  He,  him- 
self, has  related  in  the 
World  how  he  went  to 
see  it  twice,  and  that 
on  the  second  occa- 
sion he  suffered  a 
little  more  acutely 
than  he  did  at  the 
initial  performance. 
Critics  and  commen- 
tators do  well  not  to 
try  to  show  how  much 
better  they  can  write 
operas,  plays  and 
sketches  than  the  rest, 
for  usually  they  fall 
down  in  the  attempt, 
and  lose  whatever 
reputation  for  su- 
perior ability  they 
may  have  gained 
from  cutting  up  the 
works  of  others. 


Hugh  Walpole,  the 
brilliant  English 
novelist,  altho  he  ad- 
mitted having  suf- 
fered severely  from 
the  violent  attack  of 
hospitality  made  upon 
him  on  the  occasion 
of  his  first  visit  to 
America,  has  ventured 
upon  a  second,  this 
time  by  request,  to 
deliver  a  series  of 
lectures    upon    the 


HUCH  WALPOLE 


The  well-known  British  novelist,  essayist  and  lecturer 
who    is    now    making    a    tour    of    the    United    States 


modern*  novel.  Few  are  better  qualified  to  deal  with  the 
subject,  and  he  is  not  likely  to  be  guilty  of  the  stupidities 
and  indiscretions  of  some  of  his  British  predecessors  on 
the  lecture  platform. 


Singularly  enough,  tho  for  years  past  we  have  been 
constantly  treading  on  each  others  heels,  Mr.  Walpole 
and  I  have  never  met.  He  was  living  at  Epsom,  near 
the  famous  Downs  on  which  the  classic  Derby  is  annually 
run,  when  I  was  staying  in  the  same  neighborhood,  and 
a  literary  friend  whom  we  have  in  common  wished  to 
arrange  a  meeting  between  us  which  never  came  off. 
When  I  was  in  Lemberg,  Galicia,  in  the  early  stages  of 
the  great  war,  and  later,  when  I  entered  the  famous  for- 
tress of  Przemysl  after  it  fell  into  the  hands  of  the 
Russians,  I  heard  he  was  there  with  the  Russian  Red 
Cross,  but  again  we  managed  to  escape  each  other. 


Then  at  Petrograd,  a  few  months  later,  I  needed  some 
official   reports  typed  in  a  hurry,  and  the  head  of  the 

office  where  I  took  the 
work  told  me  she  was 
busy  typing  Mr.  Wal- 
pole's  new  novel  from 
the  MS.  he  had  just 
delivered.  This  was 
that  fine  book  "The 
Dark  Forest,"  much 
of  which  he  had 
written  while  at  the 
Russian  front.  But 
once  more  we  missed 
each  other.  He  is  a 
clever  writer  and 
shrewd  commentator, 
and  I  was  glad  to 
notice  that  in  his  first 
lecture  here  he  dep- 
recated the  literary 
affectation  and  high- 
brow pose,  of  which 
we  get  so  much  in 
certain  quarters. 


Broadway  is  now 
at  its  busiest,  bright- 
est and  best.  The  dif- 
ficulty for  The  Man 
About  Town  is  to 
decide  where  to  go 
and  what  to  see  or 
hear  first.  One  is  al- 
most as  perplexed  as 
was  the  chameleon 
when  some  practical 
joker  deposited  it 
upon  a  crazy  quilt, 
and  the  poor  creature 
did  not  know  what 
color  to  assume.  I 
try  not  to  miss  the 
{Cont'd  on  page  70) 


Photo  by  Mary  Dale  Clarke 


Page  Fifty-Seven 


Famous 
Stradivari 


Being  the  history  and  development  of 
a  distinguished  art  and  something  of 
the  migrations  of  celebrated  instru- 
ments to  the  shores  ot  the  new  world 


By 


J.  C.  Freeman 


The "Lipinski" violin.  Made  by  Stradivari  in  1713. 
the  famous  maker's  so-called  "Golden  Period7' 


THE  world's  master  maker  of  violins  was  Antonio 
Stradivari,  of  Cremona,  who  lived  for  ninety-three 
years,  from  1644  to  1737,  and  during  that  period 
turned  out  instruments  which  have  never  been  surpassed 
and  rarely  equalled.  Many  of  these  are  making  sweet 
music  at  the  present  time  or  are  in  famous  collections. 

The  period  1600-1785  in  Italy  witnessed  the  development 
of  the  art  of  violin  making  to  the  highest  point  it  has  ever 
attained  anywhere.  Italy  became  the  storehouse  of  exqui- 
site treasures  of  the  luthier's  art,  and  in  addition  to  Cremona, 
the  cities  of  Brescia,  Venice,  Milan,  Rome,  Genoa,  Naples 
and  Florence  became  famous  for  the  violins  made  within 
their  gates.  But  Cremona,  thru  the  consummate  art  of 
Stradivari,  Guarnerius,  the  Amati,  Bergonzi,  and  others, 
earned  a  world-wide  reputation.  To  this  day  mention  of 
"Cremona"  means  to  violin  players  and  lovers  of  the  in- 
strument in  all  lands  a  violin  or  violoncello  of  surpassing 
beauty  of  workmanship  and  tone. 

By  1785  activity  in  violin  making  in  Italy  had  almost 
ceased.  The  great  wars  which  deluged  Europe  in  blood 
caused  a  well-nigh  complete  extinction  of  the  gentler  arts, 
including  that  of  Stradivari,  his  contemporaries  and  suc- 
cessors. However,  violin  players  had  learned  the  superi- 
ority of  seasoned  and  perfectly  fashioned  instruments  of  a 
previous  period  and  so  refused  in  large  measure  to  patronize 
the  violin  makers  of  their  day. 

The  migration  of  violins  from  Italy  to  prosperous  Euro- 
pean countries  then  began ;  France,  Belgium  and  Holland 
especially  absorbing  the  best  of  Cremona's  treasures.  As 
economic  conditions  improved  in  Germany  and  Russia, 
those  countries  also  took  large  numbers,  and  by  the  middle 


J.  C.  Freeman^  eminent"  connoisseur,  with  a  twenty- 
thousand  dollar  Strad  from  the  Wurlitzer  collection 

Photo  by  Rabinovitch 


Page  Fifty-Eight 


S&ADQWLAND 


of  the  nineteenth  century  the  most  celebrated  Stradivari 
had  been  found  and  carried  out  of  Italy.  It  should  also 
be  borne  in  mind  that  during  his  life  Stradivari  was 
patronized  by  kings,  princes,  nobles  and  others  in  many 
countries,  and  thus  some  of  his  choicest  masterpieces 
were  sent  direct  to  foreign  lands. 

About  1860  a  few  wealthy  amateurs  in  the  United 
States  became  interested,  and  from  that  time  there  has 
been  a  steadily  increasing  flow  of  famous  violins  to  this 
country.  As  far  back  as  1890  I  made  my  first  trip  to 
Europe  for  the  sole  purpose  of  collecting  rare  instru- 
ments. It  was  possible  even  then,  traveling  off  the 
beaten  track  and  in  comparatively  unfrequented  places, 
to  make  finds  which  were  eminently  worth  while.  Today 
one  may  travel  the  length  and  breadth  of  Italy  and  not 
even  see  a  masterpiece,  except  in  a  museum.  Where 
have  they  gone  ?  To  every  civilized  country  in  the  world, 
and  especially  to  America. 

They  do  not  go  out  of  existence.  They  go  out  of  cir- 
culation, as  it  were.  Changing  economic  conditions,  how- 
ever, bring  them  out  of  hiding.  Such  has  been  the  his- 
tory of  the  past  hundred  years,  and  this  is  what  is  hap- 
pening today.  The  great  war  has  impoverished  the 
world,  especially  Europe.  Consequently,  fine  violins, 
beautiful  paintings,  rare  books,  and  other  works  of  art 
are  rapidly  crossing  the  Atlantic.  It  is  safe  to  say  that 
within  the  past  twelve  months  at  least  as  many  Stra- 
divari violins  have  been  brought  over  as  there  were  al- 
ready in  the  United  States. 

By  far  the  largest  and  finest  accumulation  of  famous  in- 


Professor  Leopold  Auer's  Strad.  made  in  1691. 
It  has  been  used  by  Heifetz  and  Elman 
pupils  of  the  well-known  virtuoso  and  pedagog 


Fritz  Kreisler,  with  his  superb  instrument  made 

by  the   Cremona   master  in   1736,  when   in  his 

ninety-second  year 


Photo  by  Mary  Dale  Clarke 


struments  in  this  country  is  the  Wurlitzer  collection.  The 
Lipinski,  1715;  the  Artol,  1721;  the  Piatti,  1717;  the  Pin- 
grie,  1713;  and  L'Eveque  were  all  acquired  for  that  col- 
lection. The  Pingrie  recently  became  the  property  of  Mr. 
Kane,  of  Philadelphia,  and  L'Eveque  of  Mr.  F.  J.  Frost. 
Another  fine  Strad,  I  hear,  has  recently  been  purchased  in 
Europe  by  Mr.  Nahan  Franko.  The  Sancy,  1713,  one  of 
the  finest,  was  secured  in  April  of  last  year  by  Mr.  Felix 
E.  Kohn,  thru  the  Wurlitzer  collection.  Mr.  Kohn  al- 
ready owned  the  Huggins,  a  very  admirable  example. 

The  great  violinist  Joachim  once  owned  a  "long  model" 
Strad,  made  in  the  year  1698.  This  also  is  a  recent  addition 
to  the  Wurlitzer  collection.  Others  which  should  be  men- 
tioned are  those  recently  acquired  by  Mrs.  Conway,  1722; 
Mr.  Andrews,  1721 ;  and  the  beautiful  instruments  of  Lady 
Speyer,  of  New  York,  and  Mr.  Max  Adler,  of  Chicago. 

Restricting  myself  to  violins  by  Stradivari,  I  shall  en- 
deavor, as  briefly  as  possible,  to  outline  the  characteristics 
of  a  few  of  the  fifty  or  sixty  instruments  which  were  in  this 
country  prior  to  the  war.  The  pioneer  American  amateur 
collectors  were  the  late  R.  B.  Hawley,  of  Hartford,  and 
John  P.  Walters,  of  Brooklyn.  Ordinarily  the  average  man 
is  content  with  one,  or  possibly  two,  fine  violins.  Hawley, 
however,  when  he  died  owned  twelve,  among  them  two 
Strads  and  a  Guarnerius.  These  and  his  other  violins  I  have 
already  fully  described  in  the  brochure  I  wrote  in  1903,  en- 
titled. "The  Hawley  Collection,"  published  by  the  Chicago 
firm  with  which  I  was  formerly  associated.  Hawley,  how- 
ever, owned  two  other  Strads,  one  of  which  afterwards 
(Continued  on  page  72) 


Page  Fifty-Nine 


The  Comic  Page 

Some  maintain  that  the  strip  cartoons  constitute  a  remarkable  ico- 
nography of  modern  American  ideas  and  institutions,  from  which 
posterity  will  be  able  to  learn  much  of  the  present  trend  of  thought 

B;y  Frederick  Hugh 


IF  you  asked  any  schoolboy,  or,  for  that  matter,  any 
adult,  to  mention  the  names  of  ten  American  presi- 
dents, he  would  undoubtedly  experience  considerable 
difficulty  in  doing  so.  On  the  other  hand,  very  few  people 
sufficiently  educated  to  read  simple  words  would  find  it 
hard  to  enumerate  ten  nationally  known  characters  of 
strip  cartoons.  Who  has  not  heard  of  Mutt  and  Jeff? 
Of  Jiggs  and  Maggie?  Of  Polly  and  Her  Pals?  Of 
Them  Days  is  Gone  Forever?  They  are  known  from  the 
Atlantic  to  the  Pacific — from  the  Canadian  to  the  Mexican 
borders,  and  their  daily  exploits  bring  joy  to  millions 
of  simple  hearts. 

It  is  a  phenomenon  of  absorbing  interest — this  curious 
devotion  of  a  nation  to  the  creatures  of  a  cartoonist's 
brain,  and  one  which  well  repays  investigation.  For 
whom  are  these  ostensibly  humorous  pictures  primarily 
intended — children  or  adults?  To  what  class  do  they 
cater?  Wherein  lies  their  uncanny  attraction?  What  is 
their  effect  upon  the  circulation  of  the  paper? 

Let  us  take  one  example,  probably  the  best  known  and 
most  widely  syndicated — "Bringing  Up  Father."  Briefly, 
this  is  the  Odyssey  of  one  Jiggs,  a  gentleman  of  humble 
antecedents  and  vulgar  habits,  married  to  a  lady  with 
social  aspirations  and  pugilistic  tendencies,  by  name 
Maggie.  This  Jiggs  has,  among  other  distressing  habits, 
a  passion  for  corned  beef  and  low  company,  to  attain 
which,  he  is  constantly  seeking  to  avoid  the  company  of 
his  wife.  As  often  as  he  temporarily  succeeds  in  this 
endeavor,  Maggie  trails  him  down  and  proceeds  to  beat 
him  up.  The  last  picture  in  the  strip  usually  shows  him 
in  a  hospital  as  a  result  of  his  marital  infelicities. 

Now  there  is  nothing  very  depraved  in  this,  but  at  the 
same  time  it  must  be  admitted  that  the  humor  is  not  of  a 
very  high  order.  Nor  can  Jiggs  be  considered  a  triumph 
of  draughtmanship,  tho  he  is  infinitely  better  than 
many  of  his  contemporaries.  The  outstanding  wonder 
about  "Bringing  Up  Father"  is  the  fact  that  for  the 
last  ten  (?)  years  Jiggs  has  been  planning  to  escape 
from  Maggie  in  this  manner ;  he  is  always  detected, 
always  beaten  up — and  still  the  public  never  tires  of 
him.  Granted  that  the  ingenuity  of  Mr.  McManus  in 
devising  new  variations  on  this  domestic  theme  is  little 
short  of  marvelous,  one  is  still  left  to  ponder  on  the  men- 


tality of  a  people  who  can  endure  such  rubbish  for  so  long. 

The  strip  cartoon  is  a  typical  and  indigenous  American 
creation.  Nowhere  else  does  it  flourish ;  nowhere  else 
could  it  flourish.  It  is  at  the  same  time  a  remarkable  trib- 
ute to  American  mental  dexterity — just  conceive  of  the 
strain  required  to  devise  a  new  joke  every  day! — and  a 
very  severe  indictment  of  American  intelligence.  In  New 
York  City,  only  one  large  daily  is  published  which  has 
not  got  a  comic  section.  No  provincial  paper  could  exist 
without  one.  The  absurdities  are  syndicated  thruout  the 
length  and  breadth  of  the  country,  and  it  is  no  exaggera- 
tion to  say  that  many  a  man  subscribes  to  his  paper,  not 
because  he  approves  of  its  policy  or  its  politics,  but  be- 
cause it  chronicles  the  doings  of  the  Gumps,  whereas  its 
rival  merely  contains  the  daily  ravings  of  Krazy  Kat. 

There  are  some  who  maintain  that  the  cartoons  are 
harmful  and  immoral ;  that  they  teach  boys  to  secrete 
carpet  tacks  where  their  elders  seek  to  sit,  and  to  trip  up 
old  gentlemen  on  slippery  sidewalks.  That  may  be  so, 
but  it  is  not  their  chief  demerit.  There  are  others  who 
claim  that  they  constitute  a  remarkable  iconography  of 
modern  American  ideas  and  institutions,  from  which  pos- 
terity will  be  able  to  learn  much  of  the  prevalent  trend  of 
thought.  There  is  more  than  a  little  truth  in  this  asser- 
tion. They  undoubtedly  reveal  a  phase  of  American  life 
as  nothing  else  can  do.  Their  great  fault  would  appear  to 
be  that  they  are  vastly  overdone.  There  are  too  many  of 
them,  and  they  appear  too  often  to  preserve  the  right 
proportions  of  humor,  satire,  individuality  and  spon- 
taneity. They  cease  to  be  an  expression  of  the  American 
spirit — their  great  justification — when  they  become,  as 
they  have  done,  merely  the  vehicle  for  unloading  upon  a 
long-suffering  public  all  the  most  hoary  old  jokes  and 
wheezes. 

The  blame  is  not  with  their  creators,  who  merely  sup- 
ply a  demand,  and  wax  rich  on  it.  It  is  the  people  with 
atrophied  imaginations  who  create  the  demand  that  are 
worthy  of  censure. 

Meanwhile — I  must  really  hurry  out  and  buy  my 
paper.  I  wonder  where  the  skipper  is  taking  the  Tooner- 
ville  trolley  today. 

It's  just  a  habit  .... 


Page  Sixty 


Knights  of  the  Knapsack 


Said  Harry  Kemp  to  Harry  Franck, 

"You  are  the  champion  outdoor  crank!" 

Said  Harry  Franck  to  Harry  Kemp, 

"I  scorn  to  tramp  where  you  have  tremp !" 

Said  Charley  Furlong  to  the  others, 

"Come,  Come!  We're  all  good  hobo  brothers!" 

Carl  Clausen  then  addressed  the  three: 

"Please  dont  forget  I  tramped  the  sea!" 


Carl  Clausen's  days 
had  been  spent  roving 
the  high  seas  in  Dan- 
ish barkantines  until 
he  discovered  Cali- 
fornia three  years  ago. 
He  liked  the  lay  of  the 
land,  and  wrote  a  yarn 
of  buccaneers  to  line 
his  pockets.  He  is  still 
writing  stories  and 
his  pockets  are  over- 
flowing. "But  some 
day  the  sea  will  get 
me  again,"  he  declares 


Harry  Franck  is  the 
Lord  High  Knight 
of  the  Knapsack. 
He  has  gone  adven- 
turing the  world 
over — in  fact,  we 
suspect  he  has  led 
many  a  youth  to 
stray.  His  first 
book,  "A  Vagabond 
Journey  Around 
the  World,"  was 
followed  by  "Four 
Months  Afoot  in 
Spain."  Later  he 
became  a  Zone  Po- 
liceman; then  Vag- 
abonded down  the 
Andes.  Last  year 
he  was  W orking 
North  from  Pata- 
gonia; some  of 
these  days  he  may 
astound  the  world 
with  his  experi- 
ences On  the 
March    on    Mars 


Charles  Wellington  Furlong,  the 
helmeted  knight  above,  has  been 
a  daring  explorer,  a  roving  plains- 
man, a  cowboy — an  all-round  ad- 
venturer who  heeds  the  call  of 
his  publishers  occasionally  and  re- 
turns to  smug  civilization  to  chron- 
icle his  adventures  in  "The  Gate- 
way  to  the  Sahara,"  "Tripoli  in 
Barbary,"     and     "Let     'er     Buck" 


Photo  by  Henry  Berger.  Jr. 


Photo  by  Henry  Berger,  Jr. 


to  by  jVIuray 


Half  a  dozen  years  ago  Harry 
Kemp  ventured  on  a  trip  around 
the  world  with  a  bank-roll  of 
twenty-five  cents.  On  his  return 
he  ventured  into  the  hazardous 
fields  of  Poetry  and  Drama.  So 
successful  was  this  departure  that 
he  ventured  into  book  -  writing, 
with  the  result  that  his  "Tramp- 
ing on  Life"  is  the  joy  of  the 
critics  and  the  talk  of  the  towns 


Page  Sixty-One 


Photo  by  Maurice  Goldberg 


MYRTA  BONILLAS 

A  screen  actress  of  ability  who  played  opposite 
William  Farnum  in  "A  Stage  Romance"  and 
"Shackles  of  Gold,"  and  will  soon  be  seen  in 
"Penzie,"    a  Fox  picture,  featuring  Mary  Carr 


Page  Sixty-Two 


A  very  rare  wed- 
ding veil  that  was 
probably  made  in 
Switzerland  about 
ninety  years  ago. 
From  the  collec- 
tion of  Mrs.  John 
W.  Alexander.  At 
the  right,  a  bor- 
der for  a  hand- 
kerchief of  Rus- 
sian bobbin-lace 
of  the  twentieth 
century 


Old  Laces  as  Collecting  Objects 

By  W.  G.  Bowdoin 


THE  origin  of  lace  is  veiled  in  obscurity.  There 
is  much  contention  for  the  honor  of  the  discovery 
and  application  of  this  art,  and  claimants  have  ap- 
peared in  nearly  all  the  countries  of  Western  Europe. 
Legendary  traces  of  lace-making  appear  among  the  ancient 
Swiss  lake  dwellers  and  frequently  in  the  Orient. 
The  Egyptians  knew  and  loved  it. 

However,  we  know  that  needlework  was, 
in  the  earliest  recorded  ages,  the  solace, 
pastime  and  occupation  of  queens  and 
great  ladies.    It  was  the  daily  employ 
ment    of    the    convents.      Lace    was 
constantly   made   by    the   nuns    ex- 
pressly    for    the    service    of    the 
church,  and  as  early  as  the  four- 
teenth  century,   lace    was    famil 
iarly    and    popularly    known    as 
"Nuns'     Work."       This     early 
nomenclature  has  survived,  and 
even  today,   in  some   districts, 
ancient  lace  is  still  thus  styled. 
The  nuns,  however,  did  not 
enjoy  a  monopoly  in  the  field 
of  needlework  and  they  had  no 
combination     in     restraint     of 
trade,  as  early  manuscripts  in- 
form us  the  monks  also  were 
commended   for  their  dexterity 
in  embroidery  as  well  as  for  their 
skill  as  calligraphers 
and  illuminators. 

Bui  while  there 
is  much  to  indicate 
the  extended  prac- 
tice of  needlework 
as  far  back  as  the 
primitive  Egyptians, 
in  connection  with 
those  wonderful  tex- 
tiles   of    theirs    that 

,  ,  I  i  ,  Lace-pillow    with 

have  come  down  to  I  French.    At   the 

US    thru    the    tombs,  bins  of  the  early 


yet  no  absolute  proof  exists  of  extended  lace-making, 
as  now  commonly  understood,  prior  to  the  late  fifteenth 
or  the  early  sixteenth  century. 

Some  have  been  inclined  to  the  opinion  that  lace  owes 
its  origin  to  the  difficulty  of  disposing  of  the  unraveled 
ends  of  linen  garments  and  hangings ;  while  this 
may  account  for  the  first  formation  of  fringes 
with  ornamental  headings,  the  art  of  lace^- 
making  was  more  gradual  in  its  evolution. 
Embroidery  came  first,  then  it  and 
lace  went  hand  in  hand  until  finally 
they  diverged ;  the  line  of  demarka- 
tion    grew    more    and    more    pro- 
nounced, and  finally  they  became 
separate  and  distinct  entities. 

For  many  of   its  earlier  years 
dace,  because  of  the  amount  of 
labor  required  in  making  it,  was 
i       regarded  as  sacred  to  the  service 
I        of  religion  alone,  and  it  was  not 
|        until  some  time  after  the  four- 
teenth   century   that   this    idea 
I       was  finally  dispelled. 

Even  then  kings  and  queens 
alone  had  the   right  to  use  it 
in  quantity.     Later  the  nobles 
were  thus  privileged,  and  finally 
lace  became  so  lavishly  employed 
that  numerous  cases  appear  upon 
the    records,    where 
financial    ruin    over- 
took those  who  were 
over-extravagant    in 
its  purchase  for  the 
trimmings     of     cra- 
vats, ruffles  and  even 
for  the  garniture  of 
seventeenth  -  century 
boots,  that  were  then 
fashionable  in 
France. 
(Cont'd  on  page  78) 


Courtesy  of  the 

Metropolitan 

Museum  of  Art 


bobbins  attached, 
side,  English  bob- 
nineteenth   century 


Page  Sixty-Three 


SM4L>OWL/XNt> 


Litterateurs  of  Modernism 

(Continued  from  page  35) 


strange  syntax,  his  involuted  prose,  his  tenuous  sentences 
running  sometimes  to  three  pages,  is  a  premeditated,  con- 
scious means  to  an  effect  of  analytical  narrative.  He  has 
shown  by  his  parodies  in  Pastiches  ct  Melanges  that  he 
can  imitate  the  vigorous  directness  of  Sainte-Beuve  and 
the  cadenced  simplicity  of  Renan ;  and,  indeed,  in  his 
later  volumes,  particularly  in  Sodom  et  Gomorrhe,  he  has 
lightened  the  texture  of  his  paragraphs,  abbreviated  his 
sentences,  and  achieved  a  characteristic  French  clarity 
and  lucidity.  Over  his  style  many  critical  wars  have 
already  been  waged.  Some  have 
gone  so  far  as  to  say  that  Proust 
doesn't  write  French  at  all,  but  a 
barbarous  language  fashioned  out 
of  a  French  vocabulary.  This  is 
merely  the  jealous  regard  of  the 
conservative  French  for  the  pres- 
ervation of  perhaps  their  most 
cherished  possession  —  the  clarity 
and  simplicity  of  their  prose. 
Something  is  happening  to  that 
prose :  Proust  and  Giraudoux,  Ro- 
mains  and  Carco,  Gide  and  Lar- 
baud,  are  introducing  into  it  solvent 
elements  to  give  it  the  weight  and 
grandeur,  the  diversity  and  novelty 
of  English  prose.  They  are  all  men 
who  have  been  influenced  largely 
by  English  writers. 

Anatole  France,  carrying  on  the 
tradition  of  Montaigne,  Chateau- 
briand and  Renan,  has  brought 
French  clarity  and  simplicity  to 
perfection :  it  has  been  found  neces- 
sary to.  develop  other  qualities. 
Proust  has  contributed  much.  He 
has  gone  to  school  to  Ruskin  and 
(in  contrast)  to  Pater,  to  Meredith, 
and,  most  assiduously  of  all,  to 
Henry  James.  His  long  and  ex- 
haustive novels,  which  are  to  be  en- 
joyed attentively  and  leisurely,  are 
psychological  documents  in  which 
care  is  given  to  the  significance  of 
the  smallest  details  in  the  delinea- 
tion of  character.  Swann's  Way 
relates  the  progress  of  the  love 
affair  of  a  young  aristocrat,  eru- 
dite in  the  preciosities  of  amour, 
with  Odette,  a  woman  of  the  lighter 
sort,  whom  he  endows  with  possi- 
bilities he  endeavors  her  to  realize. 
It  is  but  a  long  and  delightful  elu- 
cidation of  the  truth  that  we  adore 
in  each  other  an  image  we  our- 
selves project.  Meanwhile  it  is  an 
amazingly  acute  analysis  of  the 
surface  and  hidden  emotions  of 
well-bred  people,  upon  whom  rests 
the  weight  of  centuries  of  tradition 
in  matters  of  courtesy,  manners,  in 
short,  of  good  form. 

That  anyone  could  put  into  ex- 
cellent English,  the  elegant  tenuos- 
ities  of  M.  Proust's  prose,  preserv- 
ing at  once  the  sense  and  flavor 
of  the  original,  was  hardly  to  be 
expected.       Mr.     Moncrieff    has 


H 


Crock  of  Gold,  by  James 
Stephens.  New  edition,  illustrated. 
Macmillan. 

Swann's  Way,  by  Marcel  Proust, 
translated  by  C.  K.  Scott  Moncrieff. 
Holt. 

Letters    of    James     Gibbons    Huneker, 

edited   by  Josephine  Huneker.   Scrib 
ners. 

The      Love      Legend, 

Boyd.      Scribners. 


Lilian,    by    Arnold    Bennett.       Doran. 

Germinie  Lacerteaux,  by  Edmond  and 
Jules  de  Goncourt,  translated  with 
an  introduction  by  Ernest  Boyd. 
Knopf. 

The  Penitent,  by  Edna  Worthley 
Underwood.     Houghton,   Mifflin   Co. 

Where  the  Blue  Begins,  by  Christo- 
pher Morley.  Doubleday,  Page  & 
Co. 

Command,  by  William  McFee.  Double- 
day,    Page    &    Co. 

Rootabaga  Stories,  by  Carl  Sandburg. 
Harcourt. 

The  Wind  Bloweth,  by  Donne  Byrne. 
Century. 

Disenchantment,    by    C 
Brentano. 


Nights  and   Days  on  the   Gypsy  Trail 
by    Irving    Brown.      Harper. 


Jurgen,      by     James      Branch 
Robert    McBride    &    Co. 

Love     Conquers     All,     by     Robert 
Benchley.      Holt. 


Rough    Hewn 

Harcourt. 


achieved  this  feat,  in  recognition  of  which  he  should  be 
saluted  as  the  model  translator.  As  a  rule,  translators 
are,  an  incompetent  and  insensitive  lot :  Mr.  Moncrieff 
gives  us  Proust  and  at  the  same  time  a  fine  bit  of  English 
literature. 

The  publication  of  T.  S.  Eliot's  long  poem,  The  Waste 
Land  (Boni  &  Liveright),  is,  I  think,  an  event  of  the 
first  importance,  to  be  celebrated  by  the  literate  with  at 
least  that  measure  of  interest  they  reserve  for  the  latest 
news  of  the  Fascisti,  political  cam- 
paigns, changes  in  the  British  cab- 
inet, and  the  front-page  murder ; 
for  in  The  Waste  Land,  Mr.  Eliot 
surveys,  if  not  precisely  these,  at 
least  analogous  events  in  their 
proper  perspective  and  gives  to  us 
their  ultimate  values  in  terms  of 
beauty  and  with  beauty's  speech. 
If  I  were  to  obey  my  first  unreflec- 
tive  impulse,  I  should  say  that  The 
Waste  Land  is  one  of  the  finest 
poems  in  the  English  language. 
Certainly  it  is  one  of  the  most  curi- 
ously beautiful — a  perfect  flower 
of  a  sick  epoch,  a  literary  creation 
to  place  beside  Ulysses  and  Jurgen 
as  reflecting  an  age  in  which  the 
irony  of  indifference  is  made  the 
more  provoking  by  a  hint  of  balked 
idealism. 

Let  me  be  frank :  This  poem 
sings  of  modern  life  in  accents  so 
anguished,  passionate,  bitter,  hurt 
and  plaintive  that  it  tortured  my 
emotions  almost  beyond  endurance. 
.  .  .  That  experience,  I  know,  has 
nothing  whatever  to  do  with  the 
poem's  artistic  value :  that  thou- 
sands have  drenched  with  copious 
tears  the  printed  page  whereon  are 
written  the  words  of  Over  the  Hill 
to  the  Poorhouse  does  not  prevent 
that  composition  from  being  a  very 
tawdry  and  inferior  work  of  the 
imagination.  Discount,  then,  the 
irrelevant  fact  that  a  mere  reading 
of  this  poem  induced  in  me  such 
physiological  phenomena  as  may  be 
described  as  a  rushing  of  hot,  fe- 
verish blood  to  the  head,  a  depress- 
ing sense  of  weight  about  the 
heart,  moisture  in  the  palms  and 
eyes,  tremors  in  the  nerves,  an  in- 
creased rapidity  of  respiration — 
in  short,  the  accountable  and  vis- 
ible phenomena  attending  ecstasy, 
wonder  and  despair  (or,  perhaps, 
intimations  of  poignant  beauty)  ; 
and  then  ask,  appropriately  and 
reasonably:  "But  what  is  the 
poem's  aesthetic  significance? 
Wherein  lies  its  beauty?" 

That  beauty  and  significance  lies 

in    the    personal     expression     Mr. 

Eliot    has    given    to    his    vision    of 

modern    society.     He    has    limned 

(Continued  on  page  70) 


by     Woodward 


it 


1 


E.    Montague. 


Cabell. 


by    Dorothy    Canfield. 


Page  Sixty-Four 


, 


Photo  by  Robert  Flaherty.    ©  1922,  Revillon  Freres 


THE  DOG  SPEAKS 


Calm  tho  not  mean,  courageous  without  rage, 
Serious  not  dull,  and  without  thinking  sage; 
Plcas'd  at  the  lot  that  Nature  has  assigri'd, 
Snarl  as  I  list,  and  freely  bark  my  mind; 
As  churchman  wrangle  not  with  passing  spite, 
Nor  stateman-like  caressing  whom  I  bite; 
View  all  the  canine  kind  with  equal  eyes, 
I  dread  no  mastiff,  and  no  cur  despise: 
True  from  the  first  and  faithful  to  the  end, 
I  baulk  no  mistress,  and  forsake  no  friend. 
My  days  and  nights  one  equal  tenour  keep, 
Fast  but  to  eat,  and  only  wake  to  sleep: 
Thus   stealing  along  life,  I   live  incog 
A  very  plain  and  downright  honest  dog. 

— William  Hamilton. 


Page  Sixty-Five 


SlJAOOWLAND 

Stage  Plays  of  Interest 


Drama — Mapr  and  Melo- 


The  Cat  and  the  Canary.  National. — Good 
excitement  and   suspense. 

East  of  Suez.  Eltingc. — Florence  Reed  as  a 
beautiful,  tragic  half-caste. 

The  Fool.  Times  Square.  —  Another 
trenchant  analysis  of  the  present  trend  of 
retogious   thought. 

Hamlet.  Sam  H.  Harris. — John  Barry- 
more's  long  awaited  appearance  as  the  Prince. 

The  Last  Warning.  Klaw. — A  mystery  that 
keeps  one  thrilling  and  guessing. 

Loyalties.  Gaiety. — An  engrossing  Gals- 
worthy play,  brilliantly  acted. 


Rain.  Maxine  Elliott's. — A  bitter  tragedy 
by  Somerset  Maugham ;  a  violent  attack  on  the 
repressions  of   Puritanism. 

Rose  Bernd.  Longacre. — Ethel  Barrymore 
does  some  fine  work  in  an  obscure  and  difficult 
drama. 

R.  U.  R.  Frazee. — A  social  satire  done  in 
terms  of  the  most  hair-raising  melodrama. 

To  Love.  Bijou. — Grace  George  is  the  star. 
Good. 

Whispering  Wires.  Forty-Ninth  St. — A 
headliner   among  mystery   melodramas. 


Humor  and  Human  Interest 


Abie's  Irish  Rose.  Republic-. — The  audience 
is  as  amusing  as  the  play. 

The  Awful  Truth.  Henry  Miller.— Ina. 
Claire  learns  that  the  truth  is  an  awful  thing 
to  have  in  the  house. 

Banco.  Rite. — The  bubbling  Lola  Fisher  in 
another  Kummer  comedy. 

Kiki.  Belasco. — Lenore  Ulric  plays  the 
piquant  cocotte.     Excellent. 

The  Lucky  One.  Garrick. — The  Theatre 
Guild  offers  another  delightful  comedy  by  A. 
A.  Milne. 

Merton  of  the  Movies.  Cort. — Glenn  Hunter 
and  Florence  Nash  are  perfectly  cast  in  an 
excellent  dramatization  of  this  hilarious  satire. 

The  Old  Soak.  Plymouth. — If  you  liked 
Lightnin'  you'll   like  this. 

The  #  Romantic  Age.  Comedy. — Helen 
Hayes  is  her  familiar  "flapper"  role. 


The  Seventh  Heaven.  Booth. — A  story  of 
love  and  regeneration  with  touches  of  humor 
and  unreality.    With  Helen  Menken. 

Shore  Leave.  Lyceum. — Frances  Starr  as 
a  country  dressmaker  and  James  Rennie  as  a  gob. 

Six  Characters  in  Search  of  an  Author. 
Princess. — Philosophical  criticism  on  the  art  of 
the  theater.     Novel. 

So  This  Is  London!  Hudson. — Makes  a  hit 
with  those  who  like  English  comedy. 

Spite  Corner.  Little. — A  pleasing  homespun 
comedy  with  a  skimpy  plot. 

Thin  Ice.  Belmont. — Worth  while  if  you 
enjoy  listening  to  clever  lines. 

The  Torch  Bearers.  Vanderbilt.—A  smart 
satire  on  the  Little  Theater  movement. 

Why  Men  Leave  Home.  Morosco. — A 
comedy  with  an  obvious  moral. 


Melody  and  Maidens 


Better  Times.  Hippodrome. — Large,  costly, 
naive  and  pretty. 

Blossom  Time.  Century. — Franz  Schubert's 
life  set  to  his  own  music. 

The  Chauve-Souris.  Century  Roof.- — Third 
program  of  Balieff's  Russian  entertainers. 
Good. 

A  Fantastic  Fricassee.  Greenwich  Village. 
■ — All  that  the  name  implies. 

The  Gingham  Girl.  Earl  Carroll. — Both 
old  and  young  will   like   this. 

Greenwich  Village  Follies.  Shubcrt.  — 
Beautiful  spectacle,  with  Savoy  and  Brennan  to 
provide  the  touch  of  humor. 

The  Lady  in  Ermine.  Ambassador. — A 
musical  show  that  is  something  more  than 
vaudeville. 

Little  Nelly  Kelly.  Liberty. — A  Cohan  pro- 
duction of  the  first  class. 


Molly  Darling.  Globe. — Snappy,  tuneful 
and  clean. 

The  Music  Box  Revue.  Music  Box.- — Very 
easy  to  look  at  and  listen  to. 

Orange  Blossoms.  Fulton. — Dancing  and 
music  and  dialog  equally  good.     Dont  miss  it. 

The  Passing  Show  of  1922.  Winter  Garden. 
— A  succession  of  dances,  parodies  and  songs. 

Sally,  Irene  and  Mary.  Casino. — An  im- 
pudent show  of  New  York-Irish  manners. 

Up  She  Goes.  Playhouse.  —  Excellent 
musical  version  of  Frank  Craven's  "Too  Many 
Cooks."  Including  Donald  Brian  and  Gloria 
Fay. 

The  Yankee  Princess.  Knickerbocker. — 
A  miniature  grand  opera.     Real  music. 

The  Ziegfeld  Follies.  New  Amsterdam. — 
Amusing,  dazzling  and  distracting. 


The  Best  in  the  West 

A  list  of  last  year's  successes  now  on  tour 


Anna  Christie.  Eugene  O'Neill  at  his  best. 
Worth  seeing. 

A  Bill  of  Divorcement.  A  serious  drama. 
Well  acted. 

Bombo.     Good  music  and  new  jokes. 

Bulldog  Drummond.  A  mystery  play 
everyone  will   like. 

The  Circle.  An  excellent  comedy  with  an 
all-star  cast. 

The  Demi  Virgin.  An  underdone,  undressed 
farce. 

Dulcy.  Demonstrating  that  beauty  triumphs 
over  brains. 

Fools  Errant.  Thrilling  situations  and  ex- 
cellent dialog. 

The  Gold  Diggers.  A  snappy,  colorful 
comedy. 

Good  Morning,  Dearie.  Excellent  musical 
entertainment. 

The  Hairy  Ape.  The  tragedy  of  a  stoker. 
Good. 


The  Hotel  Mouse.  Frances  White  and 
Taylor  Holmes  in  a  light  mystery  play. 

Lawful  Larceny.   A  crook  melodrama.   Fair. 

Make  it  Snappy.  Eddie  Cantor  is  the  whole 
show. 

The  Merry  Widow.  A  revival  that  is 
making  good. 

The  Monster.  A  horrifying  mystery  melo- 
drama. 

Nice  People.    A  comedy  of  manners. 

The  Passing  Show  of  1921.  Smart  and 
satisfying. 

Red  Pepper.  A  typical  Mclntyre  and 
Heath  entertainment. 

Six  Cylinder  Love.  A  domestic  comedy 
with  a  moral. 

The  Truth  About  Blayds.  A  comedy  that 
will  please  the  intelligensia. 

The  White  Peacock.  Written  and  starred 
by    Petrova. 


Insects,  Actors,  and 
Frankensteins 

{Continued  from  page  39) 

The  robots  have  trouble  with  the  future. 
Their  bodies  wear  out  and  die.  The  formula 
of  their  making  has  been  destroyed.  How 
shall  they  be  continued?  Only  love  can  do  this. 
Love  comes  to  two  young  robots.  And  the 
cycle  of  life  begins  again.  Robots  will  invent 
robots  to  the  end  of  time — ? 

In  The  World  zve  Live  In  the  Capeks  content 
themselves  with  analysis.  In  the  first  act  they 
let  us  see  the  aristocracy — a  vale  of  butterflies, 
pretty  wasters,  aesthetes,  flirts.  The  second  act 
is  devoted  to  the  bourgeoisie — the  busy  beetles, 
piling  up  useless  fortunes  in  manure ;  the  af- 
fectionate young  crickets  setting  up  housekeep- 
ing in  a  home  just  vacated,  so  very  fortunately, 
by  a  cricket  which  a  bird  has  impaled  on  a 
thorn ;  the  ichneumon-fly  industriously  murder- 
ing the  crickets  to  bring  food  to  his  precious 
little  child ;  and  the  parasite  bug,  who  scrambles 
down  into  the  hole  of  the  fly  and  consumes  his 
store.  In  the  third  act,  we  are  with  the  pro- 
letariat— the  ants.  Here  the  drama,  as  well  as 
the  satire,  is  splendid.  Most  of  the  shibboleths 
of  commerce  and  statecraft  come  in  for  dev- 
astating attention  as  the  ants  of  this  regimented 
state  circle  in  endless,  laboring  procession,  or 
pick  up  rifles  to  go  off  to  battle  for  "the  road 
between  two  blades  of  grass."  Now,  ap- 
parently, it  can  be  told — even  on  the  stage. 

The  production  of  R.  U.  R.  by  the  Theatre 
Guild  is  natural  enough,  and  they  have  done  it 
in  a  characteristically  efficient  and  not  quite 
perfect  fashion.  But  to  find  Brady — champion 
of  The  Man  Who  Came  Back  and  Way  Down 
East,  devoted  friend  of  the  oldest  scenery  in 
New  York — staging  The  World  We  Live  In, 
and  staging  it  sumptuously  and  intelligently,  is 
one  of  the  most  exciting  and  satisfactory 
spectacles  presented  by  the  New  York  theater 
since  the  founding  of  the  Theatre  Guild.  Per- 
haps he  has  learned  that  the  old  stuff  loses  as 
much  money  as  the  new ;  at  any  rate,  he  has 
set  Lee  Simonson  to  making  a  lovely  and  ex- 
pressive and  very  expensive  production  out  of 
the  original  designs  used  in  Prague.  His 
cast  is  ambitious  enough,  but,  outside  a  few 
players  like  Kenneth  MacKenna,  it  isn't  what 
it  could  be. 

Six  Characters  in  Search  of  an  Author  car- 
ries us  out  of  politics  and  into  aesthetics.  It 
is  quite  as  novel  as  either  of  the  Czech  plays. 
It  is  theatrically  a  little  less  entertaining  and 
mentally  a  lot  more  exciting.  The  scene  is  the 
bare  stage  of  the  theater  you  sit  in ;  it  stares 
at  you  thru  the  first  intermission.  Upon  this 
stage  occurs  the  most  curious  drama  I  ever 
saw.  A  stock  company,  about  to  produce  a 
play  by  Pirandello,  is  interrupted  by  the  advent 
of  six  people  who  announce  that  they  are 
characters  out  of  a  searching  and  terrible 
human  story,  who  want  to  have  their  lives 
acted  out  to  completion  on  the  stage.  They 
persuade  the  manager  to  let  them  show  what 
happened  to  them,  and  soon  they  are  playing 
scenes  for  the  company  of  actors  who  are  to. 
give    their    drama. 

The  remarkable  part  of  Six  Characters  in. 
Search  of  an  Author  is  the  manner  in  which 
the  play  within  a  play  is  interrupted.  This, 
terrible  and  poignant  slice  of  life  is  broken  in 
upon  by  actors  who  stupidly  misunderstand ; 
by  the  manager  trying  to  enforce  the  conven- 
tions of  the  theater ;  by  the  leading  character,, 
who  cannot  resist  the  temptation  to  philosophize 
on  metaphysics  and  the  pretenses  of  artj  by- 
other  characters  to  whom  the  acted  story  is  as. 
moving  and  terrible  as  their  own  living  of  it,, 
to  whom,  indeed  it  is  their  own  living  of  it. 
All  these  strands  interweave,  all  these  planes 
of  life  and  art  intersect  in  a  most  extraordinary 
pattern,  until  in  the  last  minutes  the  two  chil- 
dren who  are  acting  their  own  tragedies  shoot 
themselves.  They  are  carried  off  dead.  Are 
they  real,  asks  Pirandello,  and  are  actors  real, 
managers  real?  Is  the  audience  real?  Which 
is   it  that  truly   exists — Life   or  Art? 

Brock  Pemberton  stages  Six  Characters  in- 
Sear ch  of  an  Author  very  bravely  and  rather 
well.  Certainly,  Florence  Eldridge,  Moffat 
Johnston,  Margaret  Wycherly,  and  Dwight 
(Continued  on  page  73) 


Page  Sixty-Six 


Sliapowland 


The  Stage  Settings  of  Norman-Bel  Geddes 

Reproductions   in   color  from   the  "Boudour    Ballet"    appear   on   page   seven 

B;y  Katherine  D.  Gridley 


WHERE  to  begin  when  writing  about 
Norman-Bel  Geddes?  That  is  the  ques- 
tion. If  you  begin  with  his  theories  of 
stagecraft,  of  light  and  color,  of  interpreta- 
tion versus  realism,  of  radicalism  versus  con- 
ventionalities— you  find  he  is  a  searcher  for 
pragmatic  truths — it  is  such  a  long  story.  If 
you  begin  with  his  past  and  work  forward, 
or  with  his  present  and  work  backward — that's 
a  long  story,  too.  Perhaps  the  best  thing, 
when  space  is  limited,  is  to  do  neither.  Unlike 
so  many  artists  both  on  and  off  the  stage  whose 
treatment  of  all  subjects  is  so  dismally  similar, 
Norman-Bel  Geddes  stands  out  as  a  very 
definite  relief.  You  cant  card-index  him.  It  is 
impossible  to  say  this  is  a  typical  Geddes  setting, 
just  as  it  is  impossible  to  know  what  he  is 
going  to  do  next  to  startle  the  theatrical  world. 
Not  that  he  aims  to  startle.  He  is  not  a  sensa- 
tionalist by  any  means,  but  he  is  not  in  the  least 
afraid  to  do  the  undone  thing,  and  we  must 
think  of  him  not  only  by  the  things  he  does, 
but  by  what  he  is  trying  to  do,  and  by  his 
reasons  for  believing  things  should  be  done 
that  way. 

Every  play,  according  to  his  theory,  has  an 
imaginative  or  spiritual  atmosphere  of  its  own 
just  as  one  individual  differs  from  another,  no 
matter  what  physical  resemblances  they  may 
possess.  Geddes  seems  to  have  a  faculty  for 
not  only  developing  theories  but  for  working 
them  out  as  well.  His  technical  and  spiritual 
realms  do  not  clash — they  work  together.  There 
are  few  men  in  the 
modern  theater 
who  have  this  fa- 
cility,  which 
amounts  to  power. 
Nothing  daunts 
him.  We  know  that 
in  his  work  with 
both  the  Metro- 
politan and  the 
Chicago  Opera 
Companies  he 
dared  to  break 
thru  the  conven- 
tional time  -  worn 
standards  of  opera- 
tic impresarios  and 
give  them  modern 
scenic  art.  The 
Boudour  Ballet  (as 
produced  by  the 
Chicago  Opera 
A  ssociatio  n  ) 
created  an  even 
greater  sensation  in 
New  York  than  in 
Chicago.  The  paint- 
ing and  lighting  of 
the  scene  was  such 
that  it  changed 
from  cool  blues  and 
greens  at  the  begin- 
ning thru  yellows 
to  a  burning  orange 
and  vermilion  at 
the  climax. 

At  the  time  of  the  world-wide  celebration  of 
the  three  hundredth  anniversary  of  Dante's 
death,  Geddes  was  prompted  to  work  out  a 
marvelous  and  as  yet  unpresented  production 
of  The  Divine  Comedy,  which  he  himself 
dramatized.  The  production  combines  practi- 
cality and  imaginativeness  to  a  remarkable 
degree  ;  a  huge  drama  of  light,  movement  and 
sound,  demanding  what  no  New  York  theater 
could  give.  So  Mr.  Geddes  planned  and  built 
the  model  of  a  stage  with  all  the  dignity  of 
the  theater  of  Dionysos  at  Athens.  It  is  a 
curving  cascade  of  steps  rising  away  from  the 
audience  with  a  pit  in  their  midst.  The  whole 
is  designed  to  fit  the  action  of  the  drama  as  it 
progresses  thru  earth,  hell,  purgatory  and 
paradise,  with  enormous  plinths  rising  in  the 
back  and  giving  to  the  movement  and  lighting 


definite  solidity.  The  stage  can  be  erected  in 
Madison  Square  Garden  or  any  large  armory. 
This  model  has  been  attracting  a  great  deal 
of  favorable  comment  in  Europe  where  it  has 
been  on  exhibition  in  London  and  Amsterdam. 
He  combines  with  his  artistry  a  rare 
mechanical  gift.  In  The  Rivals,  which  he 
designed  for  The  Players  this  year,  he  solved 
the  problem  of  creating  scenes  for  a  play  with 
many  changes  of  location  more  successful  than 
it  has  ever  been  done  before,  in  New  York 
at  least.  And  he  did  it  by  the  use  of  flat 
pieces  of  scenery  hinged  together  like  screens, 
and  by  very  effective  lighting. 

These  same  pieces  were  used  thruout  the 
entire  play  for  seven  interior  and  exterior 
scenes.  They  were  built  in  such  a  way  as  to 
be  easily  adjusted  at  any  angle  in  any  position. 
Their  arrangement  was  lovely  to  look  at  and 
dramatically  effective.  Thru  extremely  adroit 
lighting  they  achieved  a  startling  beauty  with 
the  aid  of  a  few  chairs  and  tables  and  a  piece 
of  sculpture.  The  audience  was  enabled  to  see 
the  same  room  three  times,  and  each  time  from 
a  different  angle.  Mrs.  Malaprop's  drawing- 
room  was  seen  from  a  fresh  point  of  view  each 
time. 

The  changes  of  scenes  were  made  with  such 
dexterity  that  the  curtain  had  scarcely  been 
closed  in  one  scene  before  it  opened  in  another. 
The  longest  wait  was  only  forty  seconds. 
Here,  Geddes  again  fell  back  on  interpretation 
instead  of  realism.  Altho  seemingly  alien  to  the 
eighteenth  century, 
the  scenes  were 
precisely  in  the 
spirit  of  Georgian 
rooms  and  es- 
planades of  that 
time,  and  the 
brightly  colored 
costumes  were 
thrown  into  relief 
against  the  plain 
background,  en- 
hancing the  effect 
of  the  groupings. 
And  again  he 
showed  his  practi- 
cal side.  There 
were  eighteen 
screens  used  and 
their  cost  was  little 
more  than  five 
hundred  dollars. 

The  idea  of  us- 
ing screens  was 
not  Geddes'  inven- 
tion. It  had  long 
ago  been  applied  in 
Germany,  and  Lee 
Simon  son  and 
Joseph  Urban  have 
employed  them  in 
single  scenes  in 
several  produc- 
tions. But  never 
before  have  they 
been  used  for  a 
whole  production  and  never  with  such  authentic 
beauty.  To  quote  Robert  C.  Benchley,  in  Life  : 
"They  made  one  wonder  why  there  weren't 
extras  out  on  the  streets  following  the  per- 
formance announcing  that  the  .perfect  stage 
settings  for  all  occasions  had  been  discovered." 
We  cant  quite  agree  with  Benchley,  because 
we  feel  sure  that  Geddes  will  continue  to  make 
each  occasion — each  new  work — a  thing  unique. 
And  we  are  human  enough  to  like  changes, 
provided  they  are  interesting,  and  provided 
an  artist  is  behind  them.  It  is  good  to  find 
a  successful  artist  who  is  not  blase  and  whose 
energy  and  talents  embrace  every  phase  of  his 
life.  It  may  be  youth  which  makes  Geddes 
rebellious,  for  he  is  not  yet  thirty.  Whatever 
it  is,  he  is  refreshingly  enthusiastic  over  each 
experiment    and    his    enthusiasm    is    contagious. 


lJhoto  by  Francis  Bruguiere 

NORMAN-BEL  GEDDES 


He  never 

knew  why 

THEY  met  at  a  house  party:  she 
a  charmingly  demure  young 
thing,  that  luminous  blonde  type  so 
fascinating  to  most  men ;  he  an  at- 
tractive, handsome  young  chap  who 
already  had  achieved  a  very  unusual 
start  in  business. 

It  looked  like  a  new  romance  right 
from  the  start. 

After  the  week-end  they  parted. 
Business  took  him  out  of  town  for 
several  days.  He  could  scarcely  wait 
to  get  back. 

The  first  thing  he  did  on  his  re- 
turn was  to  phone  her  from  the  sta- 
tion.    He  wanted  to  call. 

She  offered  some  excuse  or  other. 
It  couldn't  be  arranged. 

Again  and  again  he  phoned.  Al- 
ways  something   interfered. 

He  was  persistent ;  but  to  no  avail. 
And  he  never  knew  why. 

*     *     * 

Some  friend — some  intimate  friend — 
might  have  told  him.  It  would  have 
saved  him  endless  hours  of  doubt  and 
miserable    speculation. 

Of  course,  halitosis  (the  medical  term 
for  unpleasant  breath)  is  not  a  very 
pretty  subject,  yet  why  should  it  be  al- 
lowed to  stand  in  the  way  of  some  one's 
happiness? 

Particularly,  when  a  very  simple  pre- 
caution  will   correct   such   a   condition. 

Listerine,  the  well-known  antiseptic, 
used  regularly  as  a  mouth-wash  and 
gargle,  will  usually  defeat  halitosis.  It 
halts  food  fermentation  and  its  remark- 
able deodorizing  properties  leave  the 
breath  sweet,   fresh   and   clean. 

Any  druggist  will  provide  you  with 
Listerine.  And  Listerine  will  put  you  on 
the  safe  and  polite  side. — Lambert  Phar- 
macal  Company,  Saint  Louis,  U.  S.  A. 


HALITOSIS 
use 
LISTERINE 


Page  Sixty-Seven 


SuiADOWLANO 


Beauty  Lies 
Within  the  Eyes 

The  most  Luxuriant  Brows  and 
Lashes  will  not  bring  Beauty  to  Eyes 
which  have  become  Dull  and  Life- 
less. Restorethe  Enchanting  Sparkle 
of  Youth  through  the  Daily  Use  of 
Murine.  This  Soothing,  Invigorating 
lotion  Enlivens  Weary  Eyes  and  Soon 
Makes  them  Radiantly  Beautiful. 
Murine  contains  no  Belladonna  or 
other  Harmful  Ingredients.  Use  it 
Night  and  Morning.  Sold  by  Drug- 
gists Everywhere. 

Send  for  FREE  Book  on  Bye  Beauty 

Murine  Eye  Remedy  Co. 
Dept.  C>  Chicago 


For  SOURCES 


Konrad  Bercovici 

One  of  our  foremost  fiction  writers, 
who  has  just  returned  from  Holly- 
zvood,  where  lie  has  been  preparing 
some  of  his  stories  for  screen  pro- 
duction, 

contributes  in  the 

FEBRUARY 

Shadowland 

a  forceful  and  delightful  article  on  the 
artistic  future  of  the  Motion  Picture 


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ImvAiE 


The  Camera  Contest 

(Continued  from  page  54) 


cannot  reply  to  the  sculptor — but  what  the 
sculptor  knows  is  visualized  in  the  model. 

It  is  what  you  "see"  that  will  be  reflected 
in  the  final  print.  Let  me  give  you  a  hint  as 
to  what  I  mean.  Take  a  scene  that  you  think 
would  make  an  artistic  picture.  Starting  in  the 
early  morning — take  a  snap  of  it  at  least  once 
each  hour  during  the  day.  Note  the  different 
lighting,  the  ever-changing  shadows.  The  final 
result  will  be  a  revelation.  It  will  be  well  worth 
the  trouble  and  expense  involved  and  the  out- 
lay will  be  repaid  many  times  in  the  new 
vision  and  the  future  saving  of  plates  that 
formerly  were  wasted,  in  the  hope  that  one 
would  be  a  masterpiece.  Hoping  and  shooting 
at  random  may  result  in  one  very  good  print, 
but  only  the  knowledge  of  the  underlying  basic 
principle  of  composition  or  construction  will 
result  in  the  securing  of  any  number  of  worthy 
prints.  One  may  cover  up,  to  a  certain  degree, 
with  technique  and  various  printing  methods, 
the  shortcomings  of  a  print  when  shown  singly  ; 
but  should  you  wish  to  exhibit  your  prints,  you 
invite  comparison,  and  then  those  prints  that 
are  lacking  in  composition  are  judged  relatively. 
During  the  judging  of  the  1922  issue  of  the 
Pictorial  Photographers  of  America  Annual 
the  judges  followed  that  plan.  Look  at  that 
book  and  study  it.  Seek  the  reason  why  a 
print  was  chosen  and  you  will  soon  discover 
the  reason. 

Exposure,  development  and  printing  instruc- 
tions can  be  found  in  any  package  of  plates  or 
paper,  but  only  the  "seeing"  eye,  the  mental 
sight,  can  translate  the  scene  to  the  structural. 
The  next  time  you  take  a  picture  try  this. 
Throw  your  view  out  of  focus ;  look  at  it  from 
a  mass  standpoint ;  study  it ;  then  focus.  Note 
the  addition  of  line.  Then  consider  that  lines 
are  merely  the  separation  of  mass.  Choose  your 
principal  object,  subordinate  the  remainder  and 
note  the  result.  Study  composition.  Go  to  the 
museums,  study  the  masters.  Take  a  few  prints 
of  the  old  masters  and  translate  the  picture  of 
a  line  drawing.  Then  note,  the  opposition  of 
line  and  value,  black  against  white,  white 
against  black,  transition,  the  constant  breaking 
up  of  planes,  as  you  grasp  this  you  will 
gradually  find  the  phrase  "what  lens  did  you 
use"  becoming  more  and  more  obsolete. 

I  am  here  reminded  of  the  story  of  the 
famous  artist,  who  was  noted  for  his  brilliant 
coloring.  Asked  what  he  mixed  his  colors  with, 
he  replied — "brains."  The  camera  can  take 
only  what  the  user  sees.  It  is  with  you  alone 
what  the  result  shall  be,  harmony  of  line  and 
form  or  a  clashing  of  these  elements. 

The  judges  for  this  month's  contest  are:  Mr. 
Charles  H.  Jaeger,  who  is  a  contributing, 
member  of  the  Pittsburgh  and  Los  Angeles 
Salons,  George  P.  Lester,  president  of  The 
Orange  Camera  Club,  and  Eugene  V.  Brewster. 

First  Prize — Waiting  for  a  Breeze.  Charles 
J.  McManus,  Wissahickon  Avenue,  below  Car- 
penter Lane,   Philadelphia,   Pennsylvania. 

Second  Prize — The  Shepherd  and  His  Flock. 
W.  H.  Zerbe,  8606  One  Hundred  and  Twenty- 
first  Street,  Richmond  Hill,  New  York. 

Third  Prize — The  Stone-Crusher.  K.  B. 
Lambert,  101  Hillside  Avenue,  Glen  Ridge, 
New   Jersey. 

Honorable  Mention  —  Still-Life:  Sunlight. 
Dr.  F.  Detlefson.  1846  Eddy  Street,  Chicago, 
111. 

Honorable  Mention — Madison  Square,  N.  Y. 
Irving  Levy,  2157  Belmont  Avenue,  Bronx, 
New  York   City. 

Honorable  Mention — In  the  Shadozv  of  the 
Cathedral.  C.  Kuentzel,  82  Ellworth  Avenue, 
San  Mateo,   California. 


Monthly  prizes  of  at  least  $25,  $15,  and  $10 
are  awarded  in  order  of  merit,  together  with 
three  prizes  of  yearly  subscriptions  to  Shadow- 
land  to  go  to  three  honorary  mentions.  All 
prize-winning  pictures  will  probably  be  pub- 
lished in  Shadowland. 

The  committee  of  judges  includes: 

Joseph  R.  Mason,  chairman  of  committee, 
Corresponding  Secretary  P.  P.  A. ;  Eugene  V. 
Brewster,  Editor  and  Publisher  of  Shadow- 
land  ;  Louis  F.  Bucher,  Secretary  Associated 
Camera  Clubs  of  America ;  Dr.  A.  D.  Chaffee, 
President  of  P.  P.  A. ;  Arthur  D.  Chapman, 
Advisory  Committee  P.  P.  A. ;  G.  W.  Harting, 
Advisory  Committee  P.  P.  A. ;  Dr.  Chas.  H. 
Jaeger,  contributing  member  Pittsburgh  and 
Los  Angeles  Salons ;  Miss  Sophie  L.  Lauff  er, 
Secretary  Dept.  of  Photography,  Brooklyn  In- 
stitute of  Arts  and  Science ;  George  P.  Lester, 
Member  P.  P.  A.  and  Orange  Camera  Club; 
Nickolas  Muray,  portrait  photographer ;  John 
A.  Tennant,  Editor  and  Publisher  of  Photo 
Miniature;  Miss  Margaret  Watkins,  ex-Record- 
ing Secretary  P.  P.  A. ;  Clarence  H.  White, 
ex-President  P.  P.  A. 

The  jury  of  selection,  to  be  announced  each 
month  with  their  selections,  consists  of  three 
members,  to  be  chosen  from  the  committee  or 
the  membership  of  the  society.  No  member  of 
the  jury  thus  chosen  for  any  given  month  shall 
submit  pictures   for   that  month's   contest.' 

Shadowland  desires  that  every  camera  en- 
thusiast reap  benefit  from  this  contest  and  to 
this  end  makes  the  inclusion  of  the  following 
data  re   contesting   prints   imperative : 

(a)  Date  and  hour  of  exposure. 

(b)  Stop   number  used. 

(c)  Printing    medium    used. 

(d)  Character  of  print — whether  straight 
or  manipulated. 

(e)  Make  of  camera  and  lens. 

Any  print  previously  published  is  not  eligible. 

No  printing  medium  is  debarred,  but  capa- 
bility of  good  renroduction  will  be  a  factor  in 
the  selection  of  prints. 

Contestants  may  submit  prints  up  to  any  num- 
ber and  to  as  many  of  the  monthly  contests  as 
they  desire. 

Prints  received  on  or  prior  to  the  first  of 
each  month  to  be  considered  entered  in  that 
month's  contest. 

Name  and  address  of  maker,  title  and  num- 
ber must  be  printed  or  plainly  written  upon  the 
back  of  each  print.  Return  address  to  be 
written  plainly  upon  package. 

Prints  must  be  packed  flat.  A  small  mount 
makes  for  safety  in  handling,  but  is  not  re- 
quired. Prints  will  be  acknowledged  upon  their 
receipt. 

Rejected  prints  will  be  returned  immediately, 
provided  proper  postage  for  the  purpose  be  in- 
cluded. It  is,  however,  understood  that 
Shadowland  reserves  the  right  to  reproduce 
any  print  submitted  and  to  hold  such  for  a 
reasonable  time   for  that  purpose. 

Special  care  will  be  taken  of  all  prints  sub- 
mitted, but  neither  The  Brewster  Publications 
nor  the  Pictorial  Photographers  of  America 
assume   responsibility    for   loss   or   damage. 

All  prints  and  all  communications  relative  to 
the  contest  are  to  be  sent  to  Joskph  R.  Mason, 
Art  Center,  65  East  56th  Street,  New  York  City. 

No  prints  will  be  considered  if  sent  elsewhere 
than  stated  above.  Submission  of  prints  will 
imply  acceptance  of  all  conditions. 


Page  Sixty-Eight 


Si-IADQWkANO 


Portrait  of  a  Woman  of 
Forty 

(Continued  from  page  51) 

value.      Always     remain    master    of    yourself. 

Only  diamond  can  cut  diamond,  and  love  alone 
can  hold  love  in  check.  Therefore  the  wise 
woman  should  always  have  more  than  one  lover. 

The  modern  Eve  turns  more  and  more  from 
Adam  to  the   Snake. 

The  joy  of  life  is  to  create  a  little  make- 
believe  kingdom,  in  which  you  are  the  lovely 
make-believe  queen  for  those  who  are  able  and 
willing  to  accept  it  as  reality — your  lovers  and 
friends. 

The  great  adventure  of  life  is  to  explore 
one's  hidden,  mysterious  qualities,  and  then  to 
express  them  and  display  them — in  writing  and 
painting,   in  living  and  loving. 

I  like  three  pieces  of  furniture — my  desk, 
my  easel,  and  my  couch. 

One  friend  draws  out  one  phase  of  my 
personality,  another  friend  another.  He  who 
draws  out  the  phase  that  most  appeals  to  my- 
self— he  is  my   favorite   friend. 

There  is  nothing  more  wonderful  in  life  than 
to  penetrate  personalities,  one's  own  and  others'. 

To  touch  vibrant,  naked  souls,  and  to  give 
one's  own  soul,  vibrant  and  naked — that  is  the 
greatest  experience  in  life. 

The  gold-veins  must  be  within  you.  I  can- 
not put  them  there.  But  I  can  help  you  dis- 
cover them.     This  is  why  we  are   friends. 

The  three  great  mysteries  of  life — love, 
birth,  and  death — are  all  physical.  Yet  it  is 
thru   them  we  reach  spiritual  heights. 

Perhaps,  if  we  had  been  given  the  choice, 
none  of  us  would  have  entered  this  world. 
Still,  now  that  we  are  here — we  might  as  well 
try  to  enjoy  ourselves  by  making  something- 
beautiful  out  of  our  personalities.  If  life  has 
a  deeper  significance,  it  can  only  be  served  by 
such  activity.  If  not,  at  least  we  had  a  fascinat- 
ing occupation  for  this  terrestrial  week-end. 

Death  can  only  be  one  of  two  things:  the 
running  down  of  a  wonderfully  complicated 
machine — or  the  birth  of  a  little  soul  (which 
during  life  was  a  developing  embryo)  into 
some   higher   sphere. 

To  be  happy  when  one  is  "successful"  is 
easy.  Anyone  can  do  that.  I  like  difficult, 
dangerous,    unusual    things. 

If  I  had  not  suffered  the  sorrows  that  tore 
open  my  whole  soul,  I  might  have  been  super- 
ficially happy,  as  millions  are  happy  every 
year.  But  I  would  never  have  known  the 
deeper  happiness  of  intense  awareness  of  my  self. 

I  make  myself  the  compliment  to  think  that 
that  I  am  intellectual,  that  I  am  spiritual.  And 
then — every  time  a  man  follows  me  in  the 
street,  or  a  green-grocer  addresses  me  as 
"Miss,"  it  gives  me  a  real  thrill  of  joy  .  .  .    ! 

We  can  live  beautifully  in  poverty,  if  we 
accept  the  utmost  simplicity  of  life,  and  learn 
keenly  to  distinguish  between  the  essential  and 
the  non-essential. 

Where  the  rich  use  a  sledge-hammer,  the 
poor  must  use  a  lancet.  It  is  more  difficult — 
and   therefore   more    fascinating. 

The  worship  of  physical  comfort  is  the  most 
popular  of  religions — among  the  white  races, 
anyway. 

Most  Occidentals  think  that  the  aim  of  life 
is  to  make  a  living. 

The  best  things  of  life — freedom,  health, 
elasticity,  daring,  comradeship,  love,  play,  the 
getting  down  to  the  bedrock  of  existence — 
they  are  all  available  in  poverty. 

Life  is  a  strange  and  sumptuous  pageant  in 
which  mysterious  beings,  masked  and  draped  in 
the  secretive  dominos  of  conventions,  meet,  and 
sometimes  reveal  by  a  glance,  a  smile,  a 
whispered  word,  the  treasures  they  carry  hidden 
beneath  sable   folds. 

We  poor  little  humans  with  our  passionate 
attachments,  our  cravings  for  the  things  that 
endure,  our  heroic  flights  up  into  higher  spheres, 
our  terror  of  the  mysteries  and  tragedies,  the 
silence  and  darkness  that  surround  us  every- 
where! After  all  is  said — beauty,  physical  and 
spiritual — is  the  only  comfort — the  only  salva- 
tion— the  only   thing   worth   while. 

We  do  not  know  where  we  go,  nor  why. 
But  we  can  make  beautiful  the  way  to  the 
Unknown. 


Your  money  is  available  on  demand — 
when  you   invest  in 

Treasury    Savings    Certificates 

Sold  on  a  discount  basis 
Denominations  Issue  Prices 


$    25. 

100. 

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820. 


Mature  in  five  years 


Convenient  to   purchase 
Your  Postmaster  sells  them 


United  States  Government   Savings  System 

Second  Federal  Reserve  District 

97  Maiden  Lane  New  York  City 


Other  Features: 

A  well-known  grand 
opera  star  discloses  her 
secrets  for  preserving 
beauty. 

A  mysterious  scientist 
who  compounds  perfumes 
that  suit  personalities  is 
interviewed. 

There  is  a  rare  surprise 
in  store :  The  first  instal- 
ment  of  a  fascinating 
serial  by  a  world-famous 
writer. 

Lillian  Montanye  contin- 
ues her  successful  series 
in  "If  I  Were  Thirty- 
five." 

Be  sure  to  read  and  make 
use  of  the  new  Fashion 
Department  and  Shop- 
ping Service. 


TF    you    are    one    of    the    unfortunate   women    whose 
beauty    is    marred     by     unsightly     eyeglasses     and 
spectacles 

Read 

the   convincing  article   by   Frank  G.   Murphy,   M.D. 

"How   to   be   Beautiful   in   Glasses" 

Dr.  Murphy  says: 

"Eyeglasses  and  spectacles  should  improve  the 
appearance  of  the  face  and  not  detract  from  its 
beauty  as  they  usually  do.   .    .    .  " 

"There  is  much  about  the  face  that  determines 
the  composition  of  the  eyeglass  frames:  its  con- 
tour; the  shapej  size  and  length  of  the  eyebroivs ; 
length  and  size  of  the  nose.   .,  .    . 

'  Spectacles  make  thin  faces  look  more  round 
than  eyeglasses  do  .  .  .  and  the  eyebrows  fre- 
quently appear  deformed  by  ill-chosen  eyeglass 
frames.  .   .   . 


Page  Sixty-Nine 


^UIADQWLAND 


"Convenient   to   Everywhere' 

RITTENHOUSE 

HOTEL 

22d  &  Chestnut  Sts 

Philadelphia,  Pa 

|      A    hotel    of   the   highest   type    ca- 
ll    tering  only  to  the  best  patronage      '\ 

Rooms   with  hot  and     <J?0    UP 
I          cold  running  water    W«                } 
J      Rooms    with                       tfJO    TJP 

1          bath     JO                 | 

|             Club    Breakfast,    50c    u!p 
Special      Luncheon,     90c 
Evening      Dinner,      $1.25 
As   well    as   sei*Arice    a   la   carte. 

Music    During    Luncheon,              \ 
Dinner    and    Supper.                     [ 

■ 

A  F 


ew 


of  the    Contributors  to  the 
February 

SuADOWkAND 


Konrad  Bercovici 
Benjamin  De   Casseres 
Thyra  Samter  Window 
Burton  Rascoe 
Kenneth   Macgowan 
Edgar  H.   Cahill 
Jerome    Hart 


The  Pictorial  Features  in 

SuADOWLAND 

for  February 

are   of   extraordinary   beauty   and  ex- 
cellence. 

One  of  the  most  unusual  is  a  double 
spread   of   the   work    of 

Modern 
Scandinavian  Artists 


in  the  field  of  Portraiture ,  Impres- 
sionistic Painting,  Stage  Decoration, 
and    Artistic    Photography. 


Wanderings 

{Continued  from  page  57) 


opera  and  the  symphony  concerts,  as  well  as 
the  most  attractive  recitals.  But  here  alone  is 
an  embarrassment  of  riches.  With  opera  six 
times  a  week  and  three  or  four  symphony  con- 
certs in  the  same  period,  as  well  as  recitals  by 
such  artists  as  Chaliapin,  John  McCormack — 
back  again  in  perfect  voice — Galli-Curci, 
Moisewitch,  Gabrilowitch,  Levtizki,  Hoffman, 
Sigrid  Onegin — a  magnificent  singer  ■ —  Isa 
Kremer — a  remarkable  talent — and  very  many 
others  of  almost  equal  importance,  the  difficulty 
of  selection  often  becomes  almost  vexatious. 


But  somehow  I  have  heard  all  those  men- 
tioned and  some  others,  and  incidentally  taken 
in  a  few  theaters  as  well,  besides  paying  my 
regular  weekly  visit  to  the  Capitol  Theater  for 
the  rest  and  recreation  so  sorely  needed  after 
such  strenuous  work.  Not  even  Coue's  auto- 
suggestion cure  is  better  for  body  and  mind 
than  a  luxurious  seat  in  New  York's  finest 
palace  of  the  motion  picture,  for  the  enter- 
tainment is  usually  admirable.  I  can  under- 
stand the  enthusiasm  of  the  Mountbattens  when 
they  visited  the  Capitol  Theater  as  the  guests 
of  Mr.  Messmore  Kendal. 


With  the  exception  of  Loyalties,  never  have 
I  seen  such  good  all-round  acting  packed  into 
a  modern  play  as  there  is  in  The  Fool  at  the 
Times  Square  Theater,  while  I  found  the  piece 
itself  of  absorbing  interest.  Channing  Pollock 
has  almost,  if  not  quite,  written  the  long- 
looked  for  "great  American  drama."  The  best 
individual  acting  is  that  of  Lowell  Sherman, 
whose  last  scene  is  a  tour  de  force,  while  all 
the  others  do  admirably,  with  the  exception  of 
that  experienced  actress  Pamela  Gaythorne, 
who  is  miscast.     By  all  means  go  and  see  this 

remarkable  play. 

*     *     * 

Isadora  Duncan,  having  obtained  useful 
reclame  by  her  detention  at  Ellis  Island,  which 
an  astute  press  agent  worked  for  all  it  was 
worth,  appeared  four  or  five  times  at  Carnegie 
Hall  to  enthusiastic  crowds,  apparently  mainly 
composed  of  Russians  with  radical  sympathies. 
It  is  not  unjust  to  say  that  the  lady  is  not  so 
slender  and  graceful  as  she  was,  say,  a  couple 
of  decades  ago,  tho  time  has  dealt  more  kindly 
with  her  than  it  did  with  the  Lady  Jane  in 
Patience. 


Still,  I,  for  one,  derive  no  pleasure  from 
watching  a  lady  of  ample  and  stalwart  pro- 
portions in  extremely  scanty  attire,  posturing 
and  pirouetting  in  order  to  express  her  choro- 
graphic  conceptions  of  musical  masterpieces 
such  as  Tschaikowsky's  Pathetique  Symphonie, 
Wagner's  Entry  of  the  Gods  into  Valhalla 
(this  time  a  solitary  deity),  or  the  Venusberg 
episode  in  Tannhduser.  That  sort  of  thing 
soon  becomes  tiresome,  especially  when  the 
musical  accompaniment  is  worse  than  indif- 
ferent. Regard  for  veracity  compels  me  to 
state  that  the  public  applauded  Miss  Duncan 
rapturously,  while  no  one  seemed  more  pleased 
with  her  performance  than  her  youthful  re- 
volutionary poet  husband.  As  Tom  Moore 
wrote,  "There's  nothing  half  so  sweet  in  life 
as  love's  young  dream." 

*  *     * 

It  was  fitting  that  America's  best  orchestra, 
the  Philadelphia,  should  open  the  symphony 
season,  which  it  did  with  the  finest  deliverance 
of  the  Meistersinger  Prelude  I  can  recall,  fol- 
lowed by  Beethoven's  nice  little  Fourth,  with 
its  lovely  Adagio,  and  Strauss's  Heldenleben, 
which  is  as  full  of  quotations  as  Hamlet,  and 
under  Stowkowski's  direction  sounded  like 
great  music,  which  of  course  it  is  not.  The 
New  York  Symphony  gave  its  initial  concert 
of  the  season  a  few  days  later,  and  was  in 
admirable  form.  The  program  comprised 
Brahms's  glorious  second  symphony,  a  Vivaldi 
concertino,  well  arranged  by  Sam  Franko  for 
strings  and  piano,  the  latter  excellently  played 
by  Walter  Damrosch  himself,  and  an  enjoyable 
novelty  by  Saint-Saens,  Le  Carnaval  des 
Animaux. 

*  *     * 

The  last  was  a  delightful  feu  d'esprit,  altho 
one  crabbed  critic  wrote  of  it  very  contemptu- 
ously. Possibly  he  was  annoyed  at  the  inclu- 
sion by  the  composer  of  the  critics  with  the 
"long-eared  gentlemen"  who  brayed  so  realistic- 
ally in  the  carnival.  It  was  capital  fun,  and 
no  one  enjoyed  it  more  than  several  learned 
musicians  who  were  present.  The  aforesaid 
crabbed  critic  should  have  been  sitting,  as  I 
was,  next  to  the  eminent  Russian  musician 
Siloti,  who  applauded  the  different  descriptive 
numbers  with  enthusiasm,  roared  at  the  bray- 
ing of  the  crit — asses,  I  mean — and  went  out 
humming  the  pretty  melody  in  the  last  move- 
ment, "Ah!  vous  dirai-je,  vianan." 


Mllllllllllllll'IIIMIllllllllllllllllMMIIIIIIIIIIMIIIMMIIIMIIIIU 

Litterateurs  of  Modernism 

(Continued  from  page  64) 


and  caught  in  the  net  of  words  the  major 
problems  of  modern  life.  He  has  expressed 
the  emotions  of  a  disenchanted  age,  too  much 
endowed  with  sentiment  to  be  deliberately  and 
happily  materialistic  or  epicurean,  too  strongly 
shackled  by  economic  bonds  to  be  free,  a  society 
without  faith  and  too  weak  to  be  without  faith, 
without  a  compelling  ideal  ,or  purpose,  and 
hungry  for  an  ideal  or  purpose,  depressed  _  by 
war,  bewildered  by  the  winds  of  doctrine, 
uneasy,  cynical,  and  supplicating. 

Mr.  Eliot's  expression  is  a  curious  mixture 
of  the  somber  and  funambulesque,  of  awe  and 
reverence,  of  biting  realism  and  groping 
mysticism.  It  is,  as  I  have  hitherto  pointed 
out,  a  derivative  expression,  not  from  Jules 
Laforgue,  as  Ezra  Pound  and  others  have  said, 
but  from  Tristan  Corbitre.  Charles  Le  Goffic's 
description  of  Corbiere's  characteristics  may  be 
applied  directly  to   Eliot : 

"La  phrase  s'achoppe  a  tout  instant  ou,  prodi- 
gieusement  elliptique,  emportee  dans  un  vent  de 
folie  .  .  .  Un  cliquetis  perpctuel  d' antitheses, 
les  alliances  de  mots  les  plus  baroques,  du 
charabia  romantique  et  de  Vargot  de  barriere, 
des  blasphemes  et  des  calembours,  des 
pirouettes  et   des   genuflexions." 

To  these  characteristics,  which  Mr.  Eliot  has 
made  his  own,  he  has  added  what  I  have  termed 
an  erudite  despair.  It  is  an  attitude  at  once  crit- 
ical and  romantic ;  it  derives  from  an  intense 
curiosity  about  life  and  the  stream  of  culture 
(an  anthropological  and  literary  interest),  from 


a  conviction  that  modern  society  is  hopelessly 
muddled,  at  cross-purposes  and  unbeautiful,  and 
from  the  experience,  I  should  imagine,  of  a 
man  of  sentiment  who  has  been  hurt  by  cruel 
and  crass  reality. 

There  are  difficulties  in  Mr.  Eliot's  method : 
he  too  often  takes  for  granted  -that  the 
idiosyncrasies  of  the  mental  and  verbal  asso- 
ciations of  his  volatile  and  book-fed  mind  are 
as  readily  recognizable  to  others  as  they  are  to 
him.  Or,  perhaps,  he  doesn't  take  that  for 
granted  and  doesn't  care  for  understanding 
so  long  as  he  communicates  the  thrill  of  beauty 
(which,  frequently  and  with  gorgeous  pleni- 
tude, he  does)  ;  still,  in  interpreting  this  poem, 
he  resorts  to  elaborate  footnotes  which,  for  all 
their  explicitness  (both  mock  and  serious)  do 
not  always  give  us  the  peculiar  quirks  of  his 
thought.  And,  after  all,  in  this  poem  there 
is  a  narrative,  and  it  is,  where  we  can  follow 
it,  a  narrative  so  intrinsically  interesting  and 
told  with  so  individual  a  point  of  view  that  we 
would  be  grateful  if  given  a  helping  hand  over 
the  difficult  ellipses — so  that  we  might  recall, 
with  a  less  humiliating  estimate  of  our  intelli- 
gence, the  glimpses  of  beauty  we  have  been 
permitted.  That  is  a  human  and  prosaic  wish, 
without  aesthetic  consequence.  Meanwhile,  we 
know  that  here  is  a  poem  wherein  intelligence 
and  emotion  are  nicely  balanced,  where  modern 
realism  and  psychology  are  wedded  with  no 
resultant  blight  upon  sensibility,  and  where 
beauty  is  couched  in  verbal  magic  of  the  most 
potent  kind. 


Page  Seventy 


SUAOOWLAND 


Art  Comment 

(Continued  from  page  46) 


masks,  as  well  as  a  model  of  an  old  French 
village  that  he  has  been  making  for  the  last 
two  years.  It  is  complete  to  the  last  detail, 
built  of  heavy  paper  for  a  foundation  with 
strips  of  paper  pasted  on  to  build  it  up.  Mr. 
Benda  was  both  architect  and  builder.  The 
scale  is  one-eightieth.  The  design  is  Gothic, 
but  with  the  rather  formless  additions  that  the 
French  were  so  fond  of  building  onto  their 
examples  of  pure  Gothic  buildings.  It  is 
absolutely  correct,  however,  for  among  other 
things  Mr.  Benda  is  an  authority  on  architec- 
ture. It  is  surprising  to  the  layman  to  learn 
that  pure  Gothic  is  a  thing  of  vivid  colors ; 
red,  scarlet  and  black  decorating  the  ceilings 
and   vivid   blues    and    reds   over   the   archways. 


Mario  Korbel,  the  sculptor,  has  left  Mr. 
Kingore's  studio,  which  he  had  been  using  since 
his  return  from  abroad  and  is  now  at  819  Madi- 
son Avenue.  As  soon  as  he  unpacks  his  new  things 
and  repairs  them  he  expects  to  hold  an  ex- 
hibit. A  great  many  of  his  things  were  broken 
in  shipping,  and  each  case  he  unpacks  has 
some  disheartening  thing  in  it  to  greet  him. 
One  of  his  latest  things  is  called  Adolescence, 
an  exquisite  figure  of  a  girl,  her  hair  half- 
veiling  her   face. 

*  *     * 

Jo  Davidson,  who  came  over  from  Paris 
especially  to  make  a  bust  of  E.  H.  Scripps,  of 
the  Scripps-McRay  syndicate,  took  extra  time 
and  also  made  a  bust  of  Chaliapin,  which 
is  destined  for  the  collection  of  his  great 
conception.  He  is  trying  to  make  a  con- 
temporary plastic  history.  He  did  make  a 
plastic  history  of  the  members  of  the  Peace 
Conference,  and  during  those  strenuous  times 
Wilson,  Lloyd  George,  Clemenceau,  Pershing, 
Foch,  Colonel  House,  Henry  T.  White,  in  fact, 
all  the  outstanding  personages  who  were  mak- 
ing history,  passed  thru  his  hands.  He  worked 
on  them  when  the  greatest  experience  of  their 
lives  was  impressing  their  personalities  and  he 
has  made,  probably,  the  greatest  monument  to 
the  war  possible  because  his  array  is  not  sym- 
bolical but  actual.  That  is  what  he  is  trying 
to  do  with  people,  make  an  everlasting  collec- 
tion of  the  outstanding  figures  of  the  people 
of  today,  who  are  international  and  have  worked 

for  the  race. 

*  *     * 

Men  like,  Conrad,  Anatole  France,  Barney 
Baruch,  even  Mother  Jones  has  just  been  added 
to  his  list.  He  wants  to  add  Edison,  Rocke- 
feller, perhaps  Bernard  Shaw,  and  if  he  can  get 
hold  of  Henry  Ford,  he  will  make  another 
special  trip  to  the  States  to  model  him. 

But  from  now  on  he  plans  to  spend  three 
months  of  every  year  in  the  United  States, 
altho  still  doing  most  of  his  work  in  Paris, 
where  he  has  been  for  the  last  seventeen  years. 
But  America  will  now  have  a  chance  to  see 
his  work  as  it  is  to  be  permanently  on  view  at 
the  Fearon  Gallery,  25  West  54th  Street.  It 
is  not  going  to  be  an  exhibit  but  a  collection, 
so  that  people  who  admire  and  appreciate  his 
marvelous  artistry,  his  faculty  of  showing  char- 
acter and  the  soft  feeling  of  flesh  over  bone 
wrought  in  marble  and  bronze,  can  go  there 
and  see  it.  As  he  completes  his  new  things, 
they  will  be  shipped  over  here  and  put  on  view. 
It  will  be,  in  truth,  a  plastic  history  and  it  is 
doubtless  the  greatest  large  scale  conception 
that  a  sculptor  has  had  since  the  days  of  the 
Greeks   and   Romans. 


The  New  York  Times  Book  Review  Section 
published  the   following  story : 

"Edward  Simmons,  the  mural  painter  whose 
memoirs  have  just  been  published  by  Harper 
and  Brothers  under  the  title,  From  Seven  to 
Seventy,  confesses  that  breaking  into  print  at 
his  age  has  its  inconveniences.  'In  fact,'  he 
said  recently,  'it  is  a  bad  thing  to  tell  all  you 
know  in  one  book.  A  friend  looking  over  my 
book  the  other  day  stopped  and  said  in  a 
frightened   tone,  "But,   Simmy,  this   is  terrible. 


You  have  put  in  all  your  pet  stories.  Dont 
you  know  that  you  will  never  be  able  to  talk 
again  ?"  Never  be  able  to  talk  again !  What 
an  awful  thing  to  contemplate!  Half  my  life 
gone,  as  it  were,  with  one  swoop  of  my  pen.'  " 

*  *     * 

Lucy  Perkins  Ripley,  the  sculptor,  has  been 
invited  to  hold  a  joint  exhibit  with  Arthur 
Charles  of  Philadelphia,  at  the  Chicago  Art 
Institute  in  March.  Mrs.  Ripley  recently  spent 
six  months  in  Italy  and  southern  France,  where 
she  has  been  making  a  study  of  Byzantine 
sculpture. 

*  *     * 

Ehrich  Galleries,  707  Fifth  Avenue.  The  first 
part  of  January  there  will  be  a  group  exhibit 
of  portraits  by  some  of  the  best-known  por- 
trait painters.  The  latter  part  of  the  month 
there  will  be  an  exhibition  of  paintings  by 
Henrietta  Shore. 

*  #     * 

Ferargil  Galleries,  607  Fifth  Avenue.  These 
galleries  will  undoubtedly  show  during  January 
the  works  of  John  La  Farge,  Eric  Hudson  and 
Jerry    Waltman. 

*  *     * 

Folsom  Galleries,  104  West  57th  Street.  The 
last  two  weeks  of  January  will  be  shown  the 
paintings  of  Henry  L.  Hoffman.  From  the 
first  of  February  there  will  be  a  group  ex- 
hibition which  will  include  the  works  of  Chase, 
Wyant,  Twachtmann,  La  Farge,  Weir,  Blake- 
lock   and   others. 


Knoedler  Galleries,  556  Fifth  Avenue.  The 
month  of  January  will  see  the  works  of  Philip 
de  Laiszlau,  the  English  portrait  painter,  hung 
at   this    gallery. 

*     *     * 

Montross  Galleries,  550  Fifth  Avenue.  From 
January  1st  to  20th  will  be  shown  paintings 
by  Arthur  Streeton,  also  starting  on  the  1st  and 
lasting  until  the  13th  will  be  an  exhibition  of 
Henry  Burkhard's  pictures.  Starting  the  15th 
until  3rd  of  February  the  paintings  of  Walt 
Kuhn  will  be  hung. 


Mussman  Galleries,  144  West  57th  Street. 
During  January  there  will  be  a  group  ex- 
hibition of  paintings  and  etchings  which  will 
include  the  works  of  Philip  Little,  Henry  B. 
Shope,  Eugene  B.  Higgins,  Saterburg,  Gage, 
Ross   Santee  and  others. 


Milch  Galleries,  108  West  57th  Street. 
From  January  1st  to  13th  there  will  be  paint- 
ings by  Henry  C.  White.  From  January.  15th 
to  27th,  paintings  of  Spain  by  William  Potter. 
From  January  8th  to  28th  etchings  by  William 
Myrowitz. 

*  *     * 

Scott  and  Fowles,  667  Fifth  Avenue.  There 
will  be  an  exhbitition  of  eighteenth  century  por- 
traits and  a  showing  of  Bronzes  by  Paul 
Manship. 

*  *     * 

Howard  Young  Galleries,  620  Fifth  Avenue. 
During  January  these  galleries  will  show  a 
collection  of  Modern  French  Art. 


Belmaison  Galleries  (Wanamaker's)  Astor 
Place,  The  Annual  Exhibit  of  American 
painters  and  sculptors  will  be  on  view  at  this 
gallery  during  the  entire  month  of  January. 
The  works  of  Demuth,  Sheeler,  Nan  Ray, 
Dickinson,  George  Biddle,  Gasto  Lachaise, 
Donald  Greason,  William  Yarrow  and  many 
others  will  be  shown. 


The  Misses  Hill  Galleries,  607  Fifth  Avenue. 
There  will  be  a  showing  of  paintings  by  Julie 
Stohr  the  first  two  weeks  in  January.  The  last 
two  weeks  will  be  paintings  by  Jane  Peterson. 


Specially  posed  by  Zita  Moulton 


lor.  \ 

SPORTWEAR  AND 
STREET  APPAREL  FOR  WOMEN 


LONSDALE  Creations  are  the 
Expression  of  Exclusive  Smartness. 
They  enhance  the  winsome  charm  of 
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of  LONSDALE  Creations 

677  FIFTH  AVENUE,  NEW  YORK 

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^ 


Page  Seventy-One 


— 


SUAUOWIANJ 


MOTION    PICTURE 

MAGAZINE 

for  FEBRUARY 


The  Vogue  of  Valentino       -     -     - 

A  well-known  psychologist  has  analyzed 
the  reason  for  Rodolph  Valentino's 
enormous  popularity  with  the  feminine 
element.  What  the  scientist  has  to  say 
will  amaze  every  woman  and'  make  every 
man  think.  Valentino  is  the  symbol  of 
the  romantic  lover,  the  writer  asserts; 
which  means  that  the  American  woman 
must  be  in  sore  need  of  romance  —  a 
terrible  indictment  of  the  American 
husband. 

An  Experiment   in  Modeling    -     - 

Harry  Carr  tells  how  that  genius,  Von 
Stroheim,  is  taking  little  Mary  Philbin, 
the  child  with  an  unformed  mind,  a  pure 
and  beautiful  face,  and  a  soul  as  plastic 
as  virgin  snow,  and  is  absolutely  ab- 
sorbed in  the  process  of  molding  her  into 
a  great  dramatic  genius. 

Hollywood's  "Little  Church 

Around  the  Corner"     -     -     -     - 


Famous  Stradivari 

(Continued  from  page  59) 


New  Year's  Day 
1923 


came  into  my  hands.     It  is  dated  1725,  and  now 
belongs   to   Mrs.   Hay,  of   Chicago. 

Hawley's  1716  Strad,  a  very  unique  instru- 
ment in  model,  is  owned  by  Mr.  Patinas,  of 
Philadelphia;  and  his  so-called  Earl,  1722,  is 
in  the  possession  of  a  gentleman  residing  in 
Portland,  Maine.  The  Hawley  collection,  all 
of  which  passed  thru  my  hands,  is  now  dis- 
tributed among  players  and  amateurs  thruout 
the   country. 

Mr.  Waters  imported  the  well-known  King 
instrument  by  Joseph  Guarnerius  about  1872, 
and  this  I  sold  to  the  late  Mr.  H.  O.  Have- 
meyer,  of  New  York,  in  1908.  Had  Mr.  Waters 
never  done  anything  else,  the  single  act  of 
bringing  this  lovely  violin  to  America  would 
deserve  the  lasting  appreciation  of  all  of  his 
countrymen  who  are  intelligent  lovers  of  fine 
violins.  Mr.  J.  E.  Griener,  of  Baltimore,  is 
the  present  owner  of  a  notable  Stradivarius. 
It  is  dated  1725,  and  was  thus  made  when  the 
master  was  in  his  eighty-first  year.  It  is  known 
as  the  Wilhelmj,  and  was  that  celebrated 
violinist's  concert  violin  for  many  years.  It 
was  acquired  by  his  pupil,  Mr.  Hugo  Kupfer- 
schmidt,  of  Cincinnati,  a  few  years  before 
Wilhelmj 's  death.  After  Mr.  Kupferschmidt's 
death  it  passed  into  the  hands  of  Mr.  Griener, 
thru  the  medium  of  Messrs.  Wurlitzer,  of 
New  York. 

Dr.  Franz  Kneisel,  a  few  years  after  joining 
the  Boston  Symphony  Orchestra,  returned  to 
Vienna.  He  brought  back  with  him  to  America 
Professor  Griinn's  Strad,  dated  1715.  Its 
dulcet  tones  have  been  heard  by  thousands  of 
concertgoers  in  the  past  thirty  years.  Indeed, 
it  has  received  as  much  usage  as  any  Strad  I 
know  of.  Mrs.  Oliver  Mead  Green,  of  New 
York,  possesses  a  Strad  of  fine  type,  dated  1716. 
Mr.  Jacques  Gordon,  concertmaster  of  the 
Chicago  Symphony  Orchestra,  has  the  Marie 
Schumann  Strad.  It  belongs  to  1698,  and  is  a 
beauty  both  in  tone  and  appearance.  It  is  of 
the  large  Amatese   pattern. 

Mr.  Michael  Gussikoff,  the  talented  concert 
master  of  the  St.  Louis  Symphony  Orchestra, 
possesses  one  of  1635.  It  is  remarkably  rich 
in  tone.  Both  this  and  the  Marie  Schumann 
instrument  were  in  the  Wurlitzer  collection, 
New  York.  Dr.  Eugenio  Sturchio,  of  Newark, 
an    exceptionally    keen    judge    of    old    violins, 

„„„es  one  0|  1597^  known  as  "the  Russian." 

t  eminent  violinist  and  teacher,  Professor 
id  Auer,  has  a  Strad  of  the  1690  period. 
i  the  large  Amatese  type  and  is  unusually 
jful  in  appearance.  Mr.  Auer  prefers  the 
1  of  this  period,  having  found  that  its 
ke,  crisp  tone  is  most  effective  in  concert, 
kperience  corroborates  that  of  Mr.  Auer. 

Ithe  tone  of  Strad  violins  made  after  1700 
e  flexible  and  melting,  instruments  made 
n  1680,  of  the  large  Amatese  and  Long 
i,    have    a    combination    of    qualities,    in- 
g  brilliancy,  and  what  I  may  call  a  cer- 
go  thru"  character,  that  make  them  most 
.  ve   for  public  use.     I  believe  that   for   a 
tmaster  they  are  unequalled,  as  the  leader 
Symphony  orchestra  requires  an  instrument 
st  this  incisive  tone.    Besides,  the  invest- 
jis   far  less.     For  a  soloist  the   Strads  of 
18   are   not   equalled   by   any   other   violin 
made. 
J  :  demand  for  violins  of  1700-1720,  due  to 
,  exquisite  beauty  and  comparative  scarcity, 
\  them  much  more  costly.     While  one  can 
iplendid    examples    of    the   large    Amatese 
land    the    Long    model,    1692-98,    at    from 
ty-five  hundred  to  ten  thousand  dollars,  a 
:  sponding  example  of  the  "Golden"  period 
■  Icost  twice   as   much.      Of   course,   world- 
us    examples     like     the     Messiah,     Alard, 
„   Dolphin,   Cessol,   etc.,  are   in  a  class  by 
selves,  and  bring   from   forty   thousand  to 
:  thousand  dollars.     They,  and  a  few  other 
itionally  famous   Strads,  will  probably  re- 
!    in  Europe  for  a  long  time  to  come,  as  they 
aie  in  the  possession  of  wealthy  amateurs,  who 
can  easily  afford  to  hold  them. 

While  America  has  a  fair  proportion  of  the 
existing  violins  of  Stradivari — perhaps  not  its 
share,  based  on  ability  to  buy  and  musical  and 
artistic  appreciation — it  is  still  sadly  deficient  in 
respect  to  the  master's  violoncellos.     I  know  of 


but  two  in  the  whole  country.  However,  both 
are  fine  ones.  There  is  the  famous  Duport, 
owned  by  Mr.  Phipps,  and  the  second,  dated 
1690,  which  is  in  the  Wurlitzer  collection.  The 
Dupcrt  is  one  of  the  maker's  finest  achieve- 
ments. It  was  made  by  Stradivari  in  1711, 
when  he  was  in  his  sixty-seventh  year.  Most 
men  are  ready  to  slow  up  at  that  time  of  life. 
Not  so  Stradivari,  for  it  was  then  he  was 
entering  into  what  is  called  his  "Golden  Period," 
and  in  the  next  eight  years  he  was  destined  to 
turn  out  his  finest  and  most  exquisite  work. 
It  was  at  this  time  that  his  selection  of  woods 
was  most  successful,  his  varnish  the  richest, 
and  its  application  the  most  skilful. 

The  L'Eveque,  violoncello  in  the  Wurlitzer 
collection  is  a  gorgeous  work  of  art.  The 
master  at  the  time  of  its  manufacture,  1690, 
had  not  broken  entirely  away  from  the  form, 
model  and  general  style  of  his  great  teacher, 
Nicola  Amati,  who  died  but  six  years  before. 
So  beautiful  are  wood,  varnish  and  workman- 
ship that  it  fills  one's  eye  very  much  as  a  won- 
derful sunset,  with  the  western  sky  aglow  with 
deepest  reds,  purples  and  golden  hues. 

It  is  safe  to  say  that  no  violin  lover,  tho  he 
may  have  seen  and  handled  many  fine  old 
Italian  violins,  can  form  even  an  approximate 
conception  of  the  matchless  skill  of  Stradivari 
unless  he  has  studied  the  violoncellos  of  this 
absolutely  preeminent  genius.  But  twenty-two 
Strad  violoncellos  are  known,  and  of  these  only 
nine  are  extant,  that  is  to  say,  they  can  be 
located.  I  have  heard  of  one  besides  the  two 
mentioned  as  being  in  this  country,  but  I  have 
not  seen  it,  and  therefore  cannot  vouch  for  it. 

The  migration  of  Strads  to  America  has  been 
accompanied  by  a  veritable  deluge  of  instru- 
ments by  less  famous  Italian  and  French 
makers.  They  are  being  quickly  absorbed  in 
this  great,  prosperous,  music-loving  land  of 
ours,  and  East,  West,  North  and  South  their 
beautiful  tones  are  creating  a  standard  that  is 
constantly  reaching  upward  for  that  which  is 
purest  in  art.  In  every  community  where  the 
symphony  orchestra  exists  you  will  find  music- 
loving  amateurs,  as  well  as  professional  players, 
who  own  from  one  to  as  many  as  five  and  six 
Italian  instruments  of  the  sixteenth,  seventeenth, 
and  eighteenth  centuries. 

The  migration  seemingly  gathers  strength 
with  each  succeeding  year,  and  at  the  present 
rate  we  shall  have  a  preponderance  of  the 
treasures  which  once  belonged  to  Italy's  store- 
house. But  possibly,  when  economic  condi- 
tions have  improved  sufficiently,  there  will  be  a 
turn  in  the  tide,  and  part  of  what  we  have  ac- 
cumulated will  very  possibly  return  to  European 
countries. 

It  may  be  said  that  the  great  symphony  or- 
chestras of  today  are  largely  due  to  the  per- 
fection of  the  violin  by  the  old  makers  of 
Cremona  and  Brescia,  and  also  in  no  small 
measure  to  the  invention  of  the  modern  bow  by 
the  Frenchman,  Francis  Tourte.  As  the  late 
Theodore  Thomas  wrote :  "It  is  safe  to  assert 
that  without  the  Cremona  instruments  .  .  . 
the  world  would  not  have  had  the  master  works 
— the  quartets  and  symphonies  of  Haydn  and 
Mozart  and  their  successors.  It  was  in  particu- 
lar Stradivari  who  created  a  tone  which  ap- 
pealed to  musicians,  while  Francis  Tourte  in- 
vented a  bow  which  helped  to  make  possible 
the  modern  orchestra,  with  all  its  shading  and 
nuances." 

Then  let  us  give  thanks  to  the  great  violin 
makers  of  Italy  and  to  the  unique  bow  maker 
of  France  for  the  fact  that  we  can  enjoy  our 
present  feasts  of  symphonic  music.  To  the 
increasing  love  of  beautiful  instrumental 
music  in  America  as  well  as  in  Europe  must 
be  ascribed  the  remarkable  demand  for  and  the 
increasing  value  of  the  best  violins.  The 
migration  of  the  finest  instruments  to  this 
country  is  gathering  volume  and  may  be  ap- 
proaching its  apogee,  tho  of  this  there  is  no 
present  indication.  They  may  even  start  going- 
back  to  Europe.  But  I  fancy  that  the  majority 
of  American  owners  of  rare  instruments  will 
be  slow  to  part  with  their  prized  possessions, 
and  that  they  will  long  remain  this  side  of  the 
Atlantic  to  assist  in  maintaining  the  position 
America  has  won  in  the  field  of  music. 


Page  Seventy-Two 


SuAUOWLAND 


The  Buffoon  Ballet  of 
Larionow 

(Continued  from  page  49) 

raised  to  the  ;;th  power.  This  being  so,  why 
not  make  everything  contribute  to  the  sole  end 
of  glorifying  absurdity?  Rabelais  did  this,  Ed- 
ward Lear  did  it ;  the  one  with  words,  the 
other  with  words  and  colored  fantastic  illus- 
trations :  Larionow  does  it  with  color  and 
movement. 

The  second  scene  is  the  home  of  the  seven 
buffoons.  The  setting  is  a  series  of  irregular 
arches,  each  one  colored  in  the  crudest  primary 
colors,  and  designed  in  the  most  casual  free- 
hand. The  wives,  on  the  other  hand,  are 
dressed  in  rigid  costumes,  with  queer  card- 
board triangles  and  pentagons  flapping  from 
their  skirts.  At  the  extremity  of  each  skirt  is 
a  number :  there  are  seven  wives,  and  the  fun 
of  it  all  is  to  number  them.  Every  wife  stands 
at  the  side  of  a  table,  which  is  so  arranged  as 
to  show  everything  on  it :  the  tables  are 
literally  tip-top  tables,  and  to  the  vertical  side 
of  each  are  fastened  plates  and  glasses,  knives 
and  forks.  "Why,"  asks  Larionow,  "should  we 
not  see  everything?" 

The  majority  of  those  who  have  watched 
the  Buffoon  Ballet  are  unable  to  give  a  reason 
for  their  enjoyment  of  it.  But  the  reason  is 
this :  Larionow  has  done  what  not  one  artist 
in  ten  thousand  can  do,  tho  many  have  tried : 
he  has  captured  the  spirit  of  childhood — not 
its  externals,  but  its  very  essence.  He  has 
adopted  the  child's  point  of  view,  or,  rather, 
it  has  adopted  him.  The  man  and  the  artist 
are  one,  and  his  art  is  the  expression  of  him- 
self. He  is  simpler  than  Dickens ;  simpler 
than  Barrie ;  and  his  delight  in  the  visible  world 
is  more  genuine. 


miiimmimimiiiiiiiiiiiiiiMiii! 


Insects,  Actors,  and 
Frankensteins 

(Continued  from  page  66) 

Frye  convey  a  sense  of  vitality  to  the  characters 
they  play,  and  Ernest  Cossart  is  uncommonly 
deft  and  amusing  as  the  manager. 

I  dont  suppose  that  To  Love  would  have  had 
any  trouble  in  getting  itself  produced  twenty 
years  ago,  even  tho  there  are  only  three  people 
in  the  cast,  and  the  whole  thing  is  an  almost 
actionless  discussion  of  the  eternal  triangle. 
After  all  it  is  French,  and  Frohman  was  very 
fond  of  French  drama  if  it  had  been  played  at 
the  Comedie  Franqaise.  To  Love  is  not  pre- 
cisely typical  of  France,  however,  for  Paul 
Geraldy,  author  of  The  Nest,  writes  with  an 
earnest  restraint  that  old  boulevardiers  like 
Bataille  and  Bernstein  never  had  much  use  for. 
Here  is  a  sincere,  fine-fibred  and  not  very 
moving  drama,  acted  capably  enough  by  Grace 
George,  Norman  Trevor,  and  Robert  Warwick ; 
but  it's  not  half  so  deserving  of  the  theatrical 
order  of  merit  as  Brady's  other  production, 
the  insect  comedy. 

Among  the  remaining  productions  of  the 
month  are  a  new  and  still  more  entertaining 
bill  from  the  Chauve-S ouris ;  a  dull  "copy 
act"  by  Mme.  Kousnezoff's  Revue  Russe ;  a 
moral  preachment  by  Channing  Pollock  called 
The  Fool,  at  which  Alexander  Woollcott  cried 
once  in  spite  of  its  arrant  artificiality ;  a  senti- 
mental drama  by  Austin  Strong  called  Seventh 
Heaven  at  which  the  present  writer  cried  twice 
in  spite  of  its  arrant  artificiality,  but  was  able 
to  excuse  himself  with  the  vivid  acting  of 
Helen  Menken;  The  Last  Warning,  an  utterly 
incomprehensible  and  thrilling  murder-mystery ; 
The  Faithful  Heart,  a  sentimental  drama  by 
Monckton  Hoffe,  neither  conspicuously  false 
or  conspicuously  important;  a  new  Music  Box 
Revue,  again  glorifying  the  interior  decorator, 
but  without  so  much  humor  as  before  to  match 
Irving  Berlin's  gorgeous  syncopations ;  a  first- 
rate  Shubert  musical  show,  Springtime  of 
Youth,  in  which  Sigmund  Romberg  is  melodi- 
ous and  Harry  K.  Morton  and  Harry  Kelly 
are  extraordinarily  funny ;  and  a  second-rate 
Shubert  musical  show,  The  Lady  in  Ermine, 
in   which   nobody    at   all    is    very   entertaining. 


V  camera  study  of  Miriam    Battista  by   George   Lawrence  Nelson 


GIFTS  FOR  A  CHILD 


By  Thelma  Stillson 


I'd   bring  you   veils  from   Araby 
And  incense  from    Cathay, 

Rare    jades   from    out    the    Orient, 
If   I   could    have    my    way. 

There  would  be  lovely,  silken  robes, 
And  jewels  for  your  hands, 

And  strange,  unnamed,  exotic  things 
From  far  and  unnamed  lands. 


Japan   should  send  a   lacquered  box 
Your  trinkets  bright   to   hold, 

And  from  the  land  of  some  dark  king 
Would   come   a    boivl    of   gold. 

These  are  the  gifts  I'd  bring  to  you, 
If  I  could   have   my   wa$ — 

Scarves  spun  from  virgins'  sunny  hair 
And  incense  from    Cathay — 


Page  Seventy-Three 


Si-IADOWLAND 


SUADOWLAND 

for  FEBRUARY 

Includes : 

AN  article  by  Edgar  Ca- 
,  hill  on  the  work  of 
Jonas  Lie,  with  a  reproduc- 
tion in  color  of  his  painting, 
"Silent  Stream."  Mr.  Lie  is  a 
Scandinavian,  widely  known 
as  a  painter  of  Nature  and 
American  industrial  life.  It 
is  not  the  faithful  transcrip- 
tion of  a  given  scene  which 
he  achieves,  it  is  a  frankly  in- 
dividualized version  of  some- 
thing seen,  remembered,  and 
re-created  upon  canvas.  It 
has  been  said  of  him  that  he 
"chants  in  paint." 

A  mid-season  musical  re- 
view by  Jerome  Hart,  who 
discusses  the  operas,  sym- 
phony concerts,  and  recitals 
■ — the  high  spots  of  a  brilliant 
season. 

"Chaliapin  of  the  Uni- 
verse" by  Ernest  Ernesto- 
vitch — a  study  of  the  great 
Russian  actor-singer,  with 
numerous  photographs  of 
him  in  his  leading  characters. 

Critical  and  satirical  ar- 
ticles by  Burton  Rascoe,  Ken- 
neth Macgowan,  Thyra  Sam- 
ter  Winslow,  and  Benjamin 
De  Casseres. 

Reproductions  of  three  im- 
pressionistic drawings  in  red 
chalk  by  Eugene  Higgins;  an 
unusual  number  of  exquisite 
camera  studies;  two  pages  of 
cartoons  by  Wynn,  and  two 
by  Henkel. 

SUADOWLAND 

for  FEBRUARY 


Echoes  of  the  Jungle 


/  am  Memory — ■ 
/  am  Torment — 
/  am  Town — ■ 

/  am  all  that  ever  ivent  luit/i  evening  dress! 
From  Kipling's  Song   of  the  Banjo 


B;y  Franklin  H.  Hitchcock 


IT  has  been  truly  said  that  the  loveliest 
music  in  all  the  world — that  of  the  violin — 
is  produced,  paradoxically,  by  rubbing  the 
tail  of  a  horse  against  the  entrails  of  a  cat. 
The  anatomical  nicety  of  the  aphorism  is  almost 
blasphemous  when  you  consider  Kreisler  play- 
ing the  Kreutser  Sonata,  let  us  say — but  then, 
of  course,  when  Kreisler  plays,  your  soul  is 
soaring  in  realms  where  thoughts  of  horses  and 
cats  do  not  intrude,  and  therefore  it  really 
makes  no  difference: 

But  the  materials  by  which  music,  or,  since 
we  are  treating  of  Jazz,  it  were  better  to  say 
noise,  is  produced  are  none  the  less  interesting. 
Wherein  precisely  lies  the  fascination  of  the 
weird  cacophony  produced  by  the  vibration  of 
tin  kettles  and  wooden  clappers?  What  is  the 
exact  explanation  of  the  near-madness  induced 
by  the  tortured  air  that  seeks  to  escape  from 
the  twisted  brass  and  the  bursting,  belabored 
drum? 

If   Kipling's  Banjo   sings   of   itself  : 

I  am  Memory — 

/  am   Torment — 

/  am  Town — 

/  am  all  that  ever  went  with  evening  dress! 

May  we  not  say  of  Jazz  : 

/  am   Passion — 

/  am  Carnal — 

/  am  Lust — 

/  am  all  that  ever  went  with  sheer  desire! 

And  yet,  is  there  not  perhaps  something 
plaintive  and  wistful  in  the  moaning  saxophones 
— something  expressive  of  the  negroid  fatalistic, 
fanatic  philosophy?  If  it  be  so,  then  at  least 
it  is  a  mode  of  expression,  and  it  is  immediately 
raised  from  the  level  of  an  impotent  ague  to 
that  of  a  meditated  hysteria,  and  as  such 
deserves   consideration. 

The  psychology  of  Jazz  is  really  very  simple. 
Everyone  of  us,  at  some  crisis  or  other  in  our 
lives,  has  experienced  the  very  natural  and 
overwhelming  desire  to  scream.  It  may  be 
wrath,  pain,  exasperation,  relief  or  danger  that 
produces  the  desire,  but  to  scream  appears  at 
the  time  to  be  the  only  safety-valve  to  our 
pent-up   emotion. 

As  the  World  War  drew  to  its  sickening 
close,  the  world  appears  to  have  experienced 
this  same  desire,  and  gave  expression  to  it 
by  an  orgy  of  Jazz.  And  because  it  has  felt 
very  much  better  for  screaming  (even  as  you 
and  I)  it  has  gone  on  screaming.     And  it  will 


continue  to  scream  whenever  it  feels  that  way 
inclined.    And  a  very  good  thing,  too. 

To  say  that  Jazz  is  immoral  is  absurd.  It  is 
unmoral,  if  you  like,  because  it  is  primeval  and 
savage  and  unrestrained.  It  is  not  music,  for 
music  is  harmony  and  rhythm,  whereas  Jazz  is 
discord  and  syncopation.  It  is  not  beautiful, 
but  then  a  woman  in  a  temper  is  not  beautiful, 
and  the  two  are  not  dissimilar.  It  is  not  even 
new — thousands  of  years  ago  the  jungle  echoed 
to  its  crazy  dissonances.  Today  we  call  them 
the  Something-or-Other  Blues — the  Heidelburg 
man  probably  had  some  equally  foolish  name 
for  the  version  current  in  his  day.  But  we  may 
be  sure  that  he  never  treated  it  as  a  great 
problem,  as  we  are  rather  apt  to  do  in  these 
days  of  passionate  introspection.  No,  he 
either  joined  the  crowd  and  shimmied  with  the 
rest,  if  he  felt  like  it,  or  if  he  didn't  he 
probably  heaved  a  mammoth  tusk  at  the 
revellers  and  urged  them  to  cease,  for  the  love 
of  Mike,  or  whatever  Deity  was  popular  at 
that  time. 

Like  everything  else  that  comes  into  con- 
tact with  our  so-called  civilization,  Jazz  has 
been  exploited  and  commercialized  until  much 
of  its  spontaneity  has  been  destroyed.  The 
colored  gentleman  from  West  Africa,  in  whose 
blood  runs  the  veins  of  thousands  of  genera- 
tions of  West  African  savages,  knows  how  to 
play  Jazz ;  the  sallow  young  Israelite  from 
Chicago  may  be  an  excellent  pants-presser, 
song  writer  or  financier,  but  he  does  not  know 
how  to  play  Jazz. 

People  are  forever  trying  to  refine  Jazz,  to 
blunt  its  savagery,  and  to  tone  down  its 
sensualism.  They  only  succeed  in  making  it 
worse  than  it  was  before,  just  as  a  Kirchner 
nude,  with  one  silk  stocking,  is  worse  than  a 
nude  which  does  not  pretend  to  be  anything 
else.  Jazz,  to  be  enjoyed,  is  essentially  unre- 
fined. It  is  intensely  sensual,  but  not  neces- 
sarily sexual.  It  is  emotion  to  the  wth  degree, 
universal,  startling,  devastating. 

An  ardent  admirer  of  Jazz  once  took  a 
friend  to  whom  it  was  unknown  to  listen  to  a 
selection.  He  noted  with  pleasure  the  im- 
pression it  appeared  to  make  upon  him. 

"What  do  you  think  of  it?"  he  shouted  above 
the  din. 

"What's  that?"  queried  the  friend. 

"The  music!"  screamed  the  man,  "what  do 
you  think  of  it?     Isn't  it  wonderful?" 

"I'm  sorry,"  said  the  friend;  "you'll  have  to 
speak  louder — I  didn't  hear  you  on  account  of 
that  damned  noise  they're  making !" 

De  gustibus  non  disputandum. 


un  in  in  in  in  iiminiiiini  n  mi  iiiiuiiiii  illinium  mi  iininiii  inn 


IDYL 


By  Jeannette  E.  Talcott 


I'd  like  to  be  a  vagabond 

And  stroll  the  woodland  ways 

With  no  one  near  to  criticize 

Nor  yet  to  sing  my  praise. 

Alone  with  God  and  wind  and  wood 

Contented  I  would   be 

A-strolling  from  the  woodland 

To  the  ever-changing  sea. 


I'd  bathe  me  in  the  moonlight, 
I'd  warm  me  in  the  sun, 
And  I'd  sleep   beneath   the  starlight 
When   the  joyous   day   was  done. 
A   happy  heedless  vagabond 
Ah — that's  the  life  for  me 
A-strolling  thru  the  country 
Where  the  gifts  of  God  are  free. 


Page  Seventy-Four 


Jests  and  Visions 

(Continued  from  page  19) 


letters  has  stirred  up  a  controversy — and  con- 
troversy is  the  meat  of  legend. 

"Jim"  Huneker  was  a  legend  to  me  before 
I  ever  met  him.  He  was  legendary  while  I 
was  in  his  company.  He  is  a  legend  more  than 
ever  while  he  reposes  in  his  ironic  ashes. 

In  life  he  was  a  radiant  magnet.  If  he 
stopped  for  a  moment  in  his  stroll  thru  the 
lobby  of  the  Metropolitan  Opera  House,  he  was 
instantly  surrounded  by  a  crowd.  He  was  a 
kind  of  incarnate  Mecca.  I  last  saw  him  at 
a  Philharmonic  concert.  During  the  intermis- 
sion his  aisle  seat  was  surrounded,  as  if  by 
magic,  by  a  surging  crowd.  All  the  other 
musical  critics  flowed  in  his  direction  as  by 
the  pull  of  some  subconscious  undertow.  He 
sat  there — radiant,  flashing,  spilling  epigrams 
and  paradoxes  like  a  magician.  In  one  hand 
was  a  sword,  in  the  other  a  jester's  jingling 
wand,   in   his  head   the  Bibliothcquc   Nationale. 

If  ever  a  man  had  an  aura,  it  was  "Jim" 
Huneker.  A  psychic  light,  an  effluvia  emanated 
from  him.  He  trailed  colored  clouds  of  cul- 
ture. He  followed  Nietzsche's  advice  and  wore 
a  mask  to  keep  the  flies  of  mediocrity  from 
soiling  his  real  self.  And  what  a  mask  that 
face  was — a  gargoyle  of  passion,  pride  and 
irony ! 

The  machinery  of  getting  to  places  destroyed 
him.  This  man  who  should  have  ridden  in 
a  king's  coach,  spent  his  life  climbing  subway 
stairs. 

He  was  the  traffic  cop  on  Parnassus: 

If  you  want  to  have  some  fun — and  can 
perform  that  rarest  of  feats,  grinning  at  your- 
self— write  a  book  of  essays,  airing  your  own 
philosophical  and  emotional  complexes,  as  I 
did  in  Chameleon:  Being  of  the  Book  of 
My  Selves.  You  will  get  the  big  kick  out  of 
the  critical  notices.  You  will  see  your  selves 
as  others  see  you. 

I  have  been  called  a  mountebank,  a  great 
artist,  a  set  piece  of  verbal  fireworks,  the 
superior  of  Emerson,  a  Big  Noise,  America's 
foremost  epigrammarian,  a  vulgar  amateur,  a 
sublime  generalizer,  a  common  literary  thief — 
in  fact,  everything  but  a  Congressman  or  a 
prohibitionist,  the  two  lowest  forms  of  animal 
intelligence  on  the  planet. 

It's  superb  sport  to  rush  down  to  my  letter 
box  at  8  A.  M.  to  get  the  batch  of  clippings 
from  Old  Unreliable  and  find  out  whether  you 
are  a  blackguard,  a  genius  or  a  maniac  in 
Seattle,   Chicago  or   Media,   Pa. 

Then,  the  letters  that  pour  in  on  you ! — from 
totally  unknown  people.  They  blackguard, 
praise,    threaten,    slobber   and   beg. 

Then  you  crack  your  eggs,  swallow  your 
coffee,  rub  off  your  shoes,  and  sail  forth  to 
earn  your  rent — with  a  mysterious  smile  on 
your  lips,  feeling  that  it  is  better  to  have 
written  and  been  roasted  than  never  to  have 
written  at  all. 


While  engaged  in  the  tragic  act  of  moving, 
I  ran  across  an  old  letter  addressed  to  me 
by  William  J.  Bryan  in  1906,  thanking  me  for 
my  support.  I  was  a  babe  then.  Today,  I 
look    on    Bryan    as    the    greatest    menace    in 


America — because  I  am  a  wet  Darwinian,  and 
he  is  dry  Noachian.  But  sitting  on  my  trunk, 
I   fell   into  a  reverie. 

It  was  with  the  blazonry  of  romance  and  the 
suddenness  of  a  dazzling  comet  that  the  Com- 
moner rose  on  the  western  horizon  in  1896. 
Here  was  all  the  paraphernalia  and  accoutre- 
ment of  a  political  avatar. 

His  hair  was  long  and  his  tongue  outran 
the  winds.  He  was  an  image-maker  and  an 
image-breaker.  His  Pegasus  was  Rhetoric. 
Mounted  on  its  back,  he  flew  to  the  Seventh 
Heaven  of  Political  Promise — and  carried  the 
souls  of  the  submerged  nine-tenths  with  him. 
He  announced.  He  painted  verbal  Utopias 
while  you  waited.  Young,  magnetic,  incorrupt, 
he  flamed  thru  the  country,  redeeming  all  of 
mankind  thru  the  thaumaturgic  power  of 
Silver. 

I  was  young  then — like  him.  I  had  been 
looking  for  a  Sir  Launcelot  out  of  any  old 
point  of  the  compass  for  so  long  that  I  leaped 
forth,  spear  in  hand,  to  follow  even  unto  the 
motherlodes  of  wisdom — buried  in  the  mines 
of  Arizona  and  Nevada,  as  I  afterward  dis- 
covered. 

But  while  I,  in  my  perversely  analytical  soul, 
have  seen  fit  to  drop  away  from  the  Commoner 
and  take  to  Schopenhauer  and  Henry  James 
as  salve  and  unguent  for  my  wounded  pride  and 
moth-bitten  hopes,  he,  the  very  Sir  Galahad  of 
Bunk,  goes  rollicking  up  and  down  the  realm, 
seeking  sinners  whom  to  slay,  and  Falstaffs 
whom  to  devour. 

And  as  I  secreted  my  case  of  Scotch  in  the 
moving  van,  I  pondered  on  the  fall  of  idols 
and  the  rise  of  bootleggers. 


A  curious  letter  lately  appeared  in  one  of 
the  New  York  papers  about  my  favorite  word, 
"Abracadabra."  The  writer  tells  us  that  Abra- 
cadabra was  used  as  a  charm  by  the  Gnostics. 
Later  a  Mr.  Cook  applied  the  term  to  the 
evolution   theory. 

Now,  no  one  has  used  the  word  Abracadabra 
more  than  I  have  in  writing  and  speaking.  It 
has  a  precise  and  definite  meaning.  It  has 
nothing   to  do  with   Gnostics   or  evolution. 

Abracadabra  means  a  newspaper  editorial  on 
politics,  Conan  Doyle's  lectures,  the  Eighteenth 
Amendment,  the  Congressional  Record,  the 
plays  of  Oh,  What's-His-Name? — you  know; 
the  poetry  of  Harry  Kemp,  the  Versailles 
Treaty  and  the   Einstein  theory. 

Abracadabra  is  a  word  which  pronounced  in  a 
solemn,  slow,  cadenced  manner  explains, 
clarifies  and  simplifies  to  the  most  childlike 
mind  the  mental  processes  and  acts  of  about 
eighty-two  per  cent,  of  Americans  at  the  present 
time. 

If  you  have  read  the  ex-Kaiser's  memoirs,  you 
get  a  perfectly  clear  meaning  of  the  word 
Abracadabra. 

If  you  have  read  John  S.  Sumner  on  Art, 
you  will  understand  without  the  aid  of  a 
dictionary  the  meaning  of  that  fuliginous  and 
mirific  word  Abracadabra. 

As  a  matter  of  fact,  Abracadabra  has  only 
one  perfect  synonym :  1922  (or  any  current 
year  in  which  you  live). 


iimiiniiiiiiiiiimiMiiMiiiiimmiiiiiMiinimiiiMiiimiiiiiiiimii 

The  Economics  of  Experiment 

(Continued  from  page  27) 


"commercial"  theater — which  means  merely  the 
conventional  theater — the  "type"  actor  is  useful 
and  desirable.  This  is  not  because  there  is 
any  special  merit  in  versatility,  or  that  an  actor 
who  can  play  many  roles  successfully  is  any 
finer  an  artist  than  the  player  who  does  one  or 
two  things  exceptionally  well.  It  is  merely 
because,  for  economic  reasons,  the  versatile 
actor  is  of  more  value  in  the  experimental 
theater.  He  can  save  it  money.  All  this 
sounds  like  an  economic  interpretation  of 
theatrical  history,  and  that  is  just  what  it  is. 
We  might  easily  go  further,  and  show  how  the 
land  question,  the  question  of  rent,  affects  the 
American  drama.  The  truth  is,  that  to  speak 
of  the  professional  theater  as  anything  but  a 
commercial  theater  is  nonsense,  and  to  have  it 


anything  but  a  commercial  theater,  that  is,  a 
self-supporting  and  self-respecting,  theater, 
would  be  a  misfortune. 

To  be  free  of  the  economic  bondage  which 
restricts  experiment,  and  to  remain  independent 
and  self-respecting,  the  theater  must  win  pub- 
lic support  (which  it  can  only  do  by  being  inter- 
esting), and  it  must  find  constantly  new  ways  of 
achieving  the  maximum  of  effect  with  the  mini- 
mum of  expenditure.  If  the  new  stagecraft  is 
but  a  new  and  more  lavish  way  to  spend  money, 
it  will  accomplish  very  little  for  our  theater. 
If  it  simplifies  as  well  as  intensifies,  then  it  will 
open  a  whole  new  range  of  possibilities.  For- 
tunately, that  seems  to  be  the  goal  of  its  best 
practitioners,  and  every  fresh  experiment  they 
make   should  be   studied  on  its   economic   side. 


You  Can  Be  a  Star  Like 
This  Lady  and  Earn  Big 
Money  in  Spare  Time 


Introducing    MRS.    FANNIE    H.    JONES,   a   "Star" 
Subscription    Representative,    now    on   our   staff. 

Everywoman  can  have  an  independ- 
ent income.  Whether  you  are  a  Busy 
Housewife,  a  High  School  or  Col- 
lege Girl,  a  Stenographer  or  Clerk, 
if  you  can  use  more  money  at  once  or 
desire  a  permanent  income,  you  can 
get  it  thru  a  plan  that  has  stood  the 
extreme  test  of  time. 

Mrs.  Fannie  Jones  heartily  endorses 
our  plan,  because  it  has  been  the 
means  of  her  realizing  her  ambition 
of  an  independent  income.  What  she 
has  done,  others  can  do. 

EARN  $100.00  A  MONTH 
IN  SPARE  TIME 

Both  spare  time  and  full  time  repre- 
sentatives are  wanted  at  once  to  col- 
lect renewals  and  to  interest  new 
subscribers  in  our  four  popular 
magazines,  the  MOTION  PICTURE 
Magazine,  Classic,  Shadowland, 
and  BEAUTY.  Experience  is  not 
necessary,  as  we  will  tell  you  how  to 
do  the  work  and  furnish  free  every- 
thing you  need. 

If  you  can  use  more  money,  it  will  pay  you  to 
look  into  our  offer.  You  will  not  be  obligated 
if  you  write  us  for  particulars.  Send  a  letter 
or  use  the  handy  coupon  below. 


-CUT   HERE- 


BREWSTER  PUBLICATIONS,  INC. 
Desk  S-I       175  Duffield  St.,  Brooklyn,  N.  Y. 

Please  tell  me  how  I  can  make  money  as  your 
representative. 

Name 

Street  No 

City State 


Page  Seventy-Five 


SuiADQWL/\NL> 


COSMETICS 

Successfully  Applied  Do  Not  Appear  as 

"Make  Up."     Heed  Our  Suggestions  and 

Use  Preparations  of  Purity  and  Worth 

Impressions    Are    Lasting 

Look  Your  Best  at  All  Times 

Infinite  pains  have  been  taken  by  Miss 
Palmer  to  perfect  these  preparations  as 
to  ingredients,  which  are  of  the  best. 
Miss  Palmer  personally  supervises  the 
making  of  all  her  preparations  and  never 
allows  any  article  to  leave  the  laboratory 
without  a  long  trial  of  it  by  herself. 
She  is  a  severe  critic  on  the  art  of  make- 
up and  insists  that  by  clever  use  of  her 
preparations  a  person  shall  not  appear 
"made-up,"  but  bring  out  the  beauty  and 
hide   the  blemishes. 

We  enclose  directions  written  person- 
ally by  Miss  Palmer.  You  cannot  go 
wrong  if  her  words   are   heeded. 

A  Special  Word  Must  Be  Said 

of  Our  Creams — They  Are 
Exquisite  and  Without  Equal 

CORLISS  PALMER  FACE 
POWDER     $1.00 

CORLISS  PALMER  FOUNDA- 
TION CREAM— A  heavy,  flesh- 
color  cream  that  will  hide  all 
blemishes  and  make  the  powder 
stick  on  as  will  nothing  else.  To 
cover  a  pimple,  or  a  red  nose,  or 
the  whole  face  for  an  all-day 
make-up,  there  is  nothing  like  it.  .      .50 

CORLISS  PALMER  FACE 
ROUGE     50 

CORLISS  PALMER  LIP  ROUGE     .50 

THE  FOUR,  attractively  boxed  in 
set    2.50 

CORLISS  PALMER  VANISHING 
CREAM — A  light,  dry  cream  of 
purity,  to  be  used  in  the  morning, 
or  at  any  time,  to  freshen  the  skin 
and  make  a  foundation  for  the 
face  powder    75 

CORLISS  PALMER  CLEANS- 
ING OR  NIGHT  CREAM  — A 
heavier  cream,  to  cleanse  the  face 
at  night  and  to  soften  and  beautify 
the  skin    75 

CORLISS  PALMER  LEMON 
CREAM — An  exquisite  cream  of 
even  texture,  purity  and  loveli- 
ness. For  general  use  on  the  face 
and  body    75 

THE  THREE,  attractively  boxed 
in   set    2.25 

CORLISS  PALMER  BEAUTI- 
FIER — A  lotion  of  the  finest 
quality,  for  those  who  do  not  care 
for  creams  as  a  cleanser.  An 
absolute  corrector  of  an  oily  com- 
plexion, a  bleacher,  an  astringent, 
healer  of  blemishes,  and  a  very 
great  enemy  of  wrinkles 60 

We  Guarantee  our 
Preparations  to  Be  Harmless 

We  will  mail,  postpaid,  any  of  the 
above  preparations  on  receipt  of  price  in 
stamps,  cash,  or  money  order.  (In  mail- 
ing coins,  wrap  them  carefully  to  prevent 
them  cutting  a  hole  in  your  envelope.) 

Corliss  Palmer  Preparations 

RICHARD  WALLACE 
BROOKLYN,  N.  Y. 


American  Civic  Opera 

{Continued  from  page  33) 


surveys,  and  his  artists  will  more  than  ever  be 
at  his  mercy.  Even  last  season,  when  he  knew 
that  the  Chicago  company  was  not  coming  back 
this  year,  he  was  able  to  dictate  new  terms  to 
his  artists  and  virtually  to  say,  to  Miss 
Geraldine  Farrar  among  others :  "Accept  the 
terms  I  dictate  or  you  know  the  alternative." 
Thus  it  is  that  other  well -loved  favorites  are 
said  to  be  almost  trembling  in  their  shoes, 
especially  in  anticipation  of  a  threatened  Ger- 
man invasion.  A  monopoly  is  rarely  a  desir- 
able thing.  Competition  is  as  good  for  art  as 
it  is  for  business,  and,  altho  the  cost  may  be 
heavy,  and  enterprising  individuals  like  Ham- 
merstein  may  sometimes  fail,  the  public  bene- 
fits, while  artists  are  less  likely  to  be  unduly 
oppressed. 

However,  the  present  object  is  to  discuss  the 
new  Chicago  operatic  organization.  The  ten 
weeks'  repertory  at  Chicago  now  running  its 
course  offers  no  absolute  novelties,  but  includes 
a  few  interesting  revivals.  The  Snow  Maiden, 
( Rimsky  -  Korsakoff 's  Schnegourotchka)  and 
Halevy's  La  Juive  are,  we  think,  new  to  Chi- 
cago. There  are  also  revivals  of  Parsifal  and 
The  Valkyrie.  In  the  former  work  the  Chicago 
company  will  greatly  miss  Edward  Johnson,  now 
with  the  Metropolitan,  who  sang  Parsifal  at  La 
Scala,  Milan,  over  a  score  of  times,  and  is  an 
ideal  representative  of  Wagner's  hero.  There 
are  also  revivals  at  Chicago  of  Humperdinck's 
Kbnigskinder  and  Hansel  and  Gretel,  Marta, 
Andrea  Chcnier  and  Victor  Herbert's  Natoma, 
an  American  opera,  by  the  way,  which  Mr. 
Gatti-Casazza  turned  down,  and  which,  despite 
its  musical  merits,  has  never  had  the  chance 
in  New  York  to  which  it  is  entitled. 

The  twenty  or  so  other  operas  included  in 
the  ten  weeks'  season  at  Chicago  are  all 
established  favorites  in  the  repertory,  and  in 
them  a  number  of  well-graced  and  distinguished 
artists  take  part.  A  company  which  can  boast 
singers  of  such  fine  accomplishment  and  in- 
ternational fame  as  Mary  Garden,  Galli-Curci 
(first  introduced  to  American  operagoers  by  the 
Chicago  company),  Rosa  Raisa  (one  of  the 
greatest  of  dramatic  sopranos),  Edith  Mason, 
Claudia  Muzio,  Louise  Homer,  Cyrena  van 
Gordon,      Tito      Schipa,      Angelo      Minghetti, 


Chaliapin,  Baklanoff,  Joseph  Schwartz,  Defrere, 
Cotreuil  and  others,  such  a  company,  we  repeat, 
is  in  the  front  rank  of  existing  opera  organiza- 
tions the  world  over. 

As  to  conductors,  Chicago  having  lost  thru 
death  that  most  eminent  of  operatic  directors, 
Cleofonte  Campanini,  was  next  deprived  of  the 
services  of  the  man  who  Campanini  himself, 
when  he  was  in  his  last  illness,  mentioned  to 
the  present  writer  as  his  logical  successor, 
namely,  Gino  Marinuzzi.  The  latter  was 
forced  out  of  the  company  by  the  cliques  and 
cabals  by  which  it  was  honeycombed  after 
Campanini's  death.  It  was  a  liberal  education 
in  its  way  to  watch  Marinuzzi  at  rehearsal, 
for  he  seemed  to  know  every  opera  he  con- 
ducted by  heart,  and  could  prompt  every  one 
of  the  principals  when  necessary,  while  no  one 
could  present  a  more  perfectly  molded  and 
complete  performance  when  he  had  it  all  his 
own  way  and  the  right  people  were  in  the 
principal   parts. 

But  the  Chicago  company  still  has  Giorgio 
Polacco,  who  has  many  of  the  qualities  of 
both  Campanini  and  Toscanini.  There  is  also 
Etore  Panizza,  a  conductor  new  to  this  country, 
of  whom  report  speaks  highly  ;  while  what  the 
Metropolitan  has  lost  in  Richard  Hageman, 
the  Chicago  company  has  gained,  and  that  is 
much,  for  he  is  an  authoritative  wielder  of 
the  baton,  especially  in  German  opera,  and  a 
fine  musician  to  boot. 

Taken  all  in  all,  the  Chicago  Civic  Opera 
Company  has  been  launched  amid  fair  breezes 
and  with  a  first-class  crew.  Chicago  and  the 
cities  which  it  visits  will  be  able  to  hear  stand- 
ard works  done  at  least  as  well  as  they  usually 
are  in  New  York,  Paris  and  other  large  musical 
centers.  Let  us  hope  that  its  success  will  be  so 
great  that  before  long  it  will  again  feel  justi- 
fied in  including  New  York  in  its  itinerary. 
We  shall  then  witness  a  revival  of  that  healthy 
competition  which,  so  far  from  militating 
against  the  success  of  the  local  grand  opera 
organization,  is  calculated  to  stimulate  it  to  its 
best  and  highest  endeavors,  while  it  will  help 
to  secure  fair  and  just  treatment  for  artists 
who  now  dread  something  like  a  tyranny. 


Rich  as  is  the  Chicago  Civic  Opera  Company  in  baritones, 
it   has    gained    a   really    fine    singer    in    Cesare    Formichi 


Page  Seventy-Six 


SuiADOWLAND 


Little 
Paragraphs 


from 


Q^vssic 


□ 


for 
FEBRUARY 

d 


n 


.  .  .In  the  midst  of  ugly  things, 
of  things  without  a  dream,  Alary  and 
Doug  preserve  a  sort  of  eminence.  We 
think  of  them  in  their  personal  lives, 
loving  and  beloved,  a  little  lonely,  per- 
haps, as  are  the  chosen  few  who  dwell 
on  heights.  We  think  of  them  in  their 
home  in  the  hills,  planning  together, 
dreaming  dreams  together,  standing 
side  by  side,  artists  and  lovers,  building 
their    legend   for    posterity.    ... 

•^from     Gallant  and   Golden" 
by  Faith   Service 


□ 


□ 


.  .  .  'We  was  making  one  scene  for 
"The  Legend  of  Sleepy  Hollow," ' 
said  Will  Rogers,  'where  Washington 
Irving  lies  buried.  And  right  in  the 
middle  of  one  of  my  heavy  moments 
I  heard  a  rumblin  sound.  I  just  know 
it  ivas  Mr.  Irving  turning  over  in  his 
grave.  ...  And  did  I  run?  Ole 
Ichahod  never  run  like  that  in  his 
life!'  .    .    .  " 

•^from  "A  Sagebrush  Sage" 
by  Kenneth  Gardner 


□ 


□ 


.  •  .  The  cultured  European  aris- 
tocrats are  demanding  to  be  informed 
why  Tola  Negri  has  gone  to  America. 
'After  all'  they  declare,  'she  is  a  great 
artist  and  she  is  ours.  What  do  Amer- 
icans plan  for  her?  Will  they  wish 
on  that  face  so  aptly  cast  to  picture, 
in  a  succession  of  sharp  and  unfor- 
getable  miniatures,  the  wide  range  of 
feminine  emotion  —  on  that  face  the 
baby  stare?  Out  of  our  glorious  Car- 
men and  Du  Barry  do  they  intend  to 
build  a  baby  doll?'    .    .    .   " 

— from      Pola  Negri's   Inspiration" 
by  Stanton  Leeds 


□ 


□ 


□ 


I 


n 


The   Picture   Book   De   Luxe 
of  the  Movie  World 

for  FEBRUARY 


The  World's  Greatest 
Failures 

(Continued  from  page  44) 

ure.  Capable  of  achieving  distinction  in  the 
study  of  bugs  and  birds,  Barbellion  looked 
with  jealousy  on  the  glory  of  Stevenson.  He 
died  oppressed  with  a  sense  of  having  misspent 
his   life. 

The  fame  of  many  a  noted  man  has  been 
diminished  by  his  seeking  more  worlds  to  con- 
quer. Nero's  fatuous  literary  aspirations 
would  have  been  a  blot  upon  his  name,  even  tho 
he  had  not  blackened  it  with  cruelty.  Caligula 
made  an  ass  of  himself.  Frank  Gotch's  fistic 
efforts  earned  for  him  a  lasting  black  eye. 
Henry  James's  prestige  suffered  when  he  tried 
to  be  a  playwright  as  well  as  a  novelist. 

A  great  poet  warned  serious  writers  who 
were  building  monuments  in  literature  never  to 
publish  anything  light.  A  frivolous  line  or 
two,  he  thought,  would  bring  lasting  regret  to 
the  author  of  serious  work.  Mark  Twain  so 
painstakingly  acquired  repute  as  a  humorist 
that  when  he  tried  to  be  serious  he  was  not 
taken  seriously. 

An  anecdote  is  told  of  Twain  reading  to  a 
group  of  guests.  While  he  was  reading,  a 
young  woman  in  the  audience  made  a  great 
demonstration  of  mirth,  somewhat  to  the 
author's  annoyance.  When  he  concluded,  she 
approached  him,  giggling,  and  said : 

"Oh,  Mr.  Clemens,  I  thought  I  would  die ! 
I  believe  I  am  the  only  one  who  perceived  what 
you  meant.  It  was  a  satire  on  Browning, 
wasn't   it?" 

The  surprised  Mr.  Clemens  assured  her  that 
he  had  not  intended  to  be  humorous  and  really 
had  been  reading   Browning ! 

A  modification  of  an  ancient  proverb  is 
"Shoemaker,  stick  to  thy  last"  ;  excellent  advice, 
as  many  can  attest  who  have  been  lured  by 
the  will  o'  the  wisps  of  vanity  or  envy. 

One  of  the  most  amusing  cases  of  vanity 
leading  a  man  into  the  sphere  of  another  is 
that  of  the  Earl  of  Limerick,  who  must  have 
revised  this  advice  to  read,  "Shoemaker,  I'll 
stick  to  thy  last."  The  earl  had  been  doing  well 
as  a  professional  peer,  but  he  longed  to  be  a 
cobbler.  Cornelius  Vanderbilt,  Jr.,  relates  that 
when  one  visits  the  earl,  he  deftly  turns  the 
subject  upon  shoes.  He  takes  tremendous  pride 
in  guessing  the  cost  of  one's  footwear,  where 
it  was  manufactured,  and  whether  it  is  imita- 
tion vici  kid  or  the  genuine  article.  The  earl's 
friends  are  never  embarrassed  when  he  peers 
thru  his  monocle  at  their  feet.  They  know  it 
isn't  because  their  laces  are  untied.  The  earl 
merely  is  utilizing  his  practical  knowledge  of 
shoemaking. 

Perhaps  the  leather-learned  earl  is  not  more 
amusing  than  Chaplin  would  be  playing  Ham- 
let. There  is  a  divinity  that  shapes  our  ends, 
and  Charlie's  seem  to  have  been  shaped  for 
comedy. 


iiiiiniiiiiiiiiiiiiiiimiiiiiiniiill 


An  Experiment  in 
Music  Culture 

(Continued  from  page  21) 

The  remarkable  motion  picture  hall  under- 
neath the  main  auditorium — it  has  a  fine  pipe- 
organ,  a  silver  screen  and  adequate  projection 
machinery,  but  no  seats — in  which  students  of 
the  adjoining  School  of  Music  may  properly 
be  taught  the  artistic  use  of  the  organ  in  con- 
nection with  the  showing  of  the  motion  picture, 
is  a  recognition  of  this  high  purpose  of  the 
founder. 

Into  the  hands  of  Rochester  has  been  given 
a  real  treasure-box.  If  it  fails  to  enrich  that 
community,  it  will  not  be  the  fault  of  the 
donor.  That  responsibility  would  then  come 
directly  home  to  Rochester.  But  I  have  no 
fears  for  the  town.  It  is  both  ready  and 
anxious.  Twenty-five  thousand  folk  in  six 
clays  struggling  for  admittance  to  real  musical 
drama  should  be  interpreted  as  an  evidence  of 
both. 


You  Can  Have 

An  Independent 

Income  of  $50 

a  Month 


Just  like  the  folks 
whose  pictures  you  see 
here,  you  can  have  an 
independent  income. 

Fifty  dollars,  one  hun- 
dred dollars,  two  hun- 
dred dollars — what- 
ever the  amount  you  may 
want,  there  is  a  way  for  you  to  get  it. 

If  you  have  only  spare  time  in  which  to 
seek  an  increased  income,  our  plan  is 
the  ideal  plan  for  you.  If  you  can  de- 
vote a  full  working  day,  each  day,  to  a 
business  that  offers  big  opportunities 
for  making  money,  you  cannot  afford 
not  to  look  into  the 
work  we  have  to  give 
you. 

Representatives  are 
wanted  for  the  Brew- 
ster Publications,  in 
every  City,  Town  or 
Hamlet — men  and 
women  to  collect  re- 
newals and  solicit  new  subscriptions  for 
our  four  well  known  and  popular 
magazines.  The  pay  we  offer  is  a  lib- 
eral commission,  a  monthly  salary  and 
an  extra  bonus.  The  scale  below  shows 
how  easily  big  money  can  be  made  un- 
der our  plan. 

For  1  order  a  day,  we  pay  $25.90  a  month 
For  2  orders  a  day,  we  pay  60.50  a  month 
For  3  orders  a  day,  we  pay  92.50  a  month 
For  5  orders  a  day,  we  pay  162.50  a  month 
For  10  orders  a  day,  we  pay  325.00  a  month 

No  experience  is  re- 
quired. Everything 
you  need  to  work  with 
is  furnished  free.  If 
you  want  to  increase 
your  income  and  are 
not  afraid  to  work, 
send  at  once  for  further 
particulars.  The  cou- 
pon below  is  for  your 
convenience. 


—CUT     HERE- 


BREWSTER    PUBLICATIONS,    Inc., 

175   Duffield    Street,    Brooklyn,    N.    Y. 
Dept.     S-l 

Please  tell  me  how  I  can  make  money  as  your 
representative. 

Name    

St.   and  No 

City    State 


Page  Seventy-Seven 


Sludqwland 


iia^SMl 


Si) 


Start  a 
Beauty  Parlor 

In  Your  Own  Home  and 

Make  Money 

Wherever  you  may  live, 
whether  in  a  small  town  or  a 
big  city,  there  are  in  your 
neighborhood  many  who  are 
troubled  with  superfluous  hair, 
moles,  warts,  birthmarks,  etc., 
and  you  know  that  electrolysis 
is  the  only  method  of  perma- 
nently removing  them.  You 
can  get  a  large  part  of  this 
trade  by  securing  an  Electroly- 
sis Outfit  and  learning  how  to 
operate  with  the  simple  direc- 
tions accompanying  it.  Any- 
body can  learn  to  do  it.  It 
requires  no  knowledge  of  elec- 
tricity or  of  physiology.  You 
can  operate  in  your  own  home, 
because  all  you  require  is  good 
light,  two  chairs  and  a  table. 
Or  you  can  operate  in  the 
homes  of  your  customers,  be- 
cause the  outfit  can  be  carried 
in  a  small  hand  valise.  The 
usual  charge  for  removing  su- 
perfluous hair  is  $5.00  for  half 
an  hour's  treatment,  and  there 
are  very  few  places  in  this 
country  where  you  can  get  it 
done  at  any  price.  I  will  send 
an  Electrolysis  Outfit,  prepaid, 
to  any  address  on  receipt  of 
price,   $20.00. 

If  you  wish  to  take  up  other 
branches  of  Beauty  Parlor 
work,  I  will  undertake  to  teach 
by  correspondence  the  follow- 
ing courses  on  receipt  of  price: 

Facial   Massage    $2.00 

Shampooing     2.00 

Eyebrows  and  Lashes.    1.00 

Reducing 2.00 

Wrinkles   1.00 

Facial  Mud  Bath 1.00 

Manicuring  3.00 

Pimples,    Blackheads, 

etc 1.00 

Double  Chin    1.00 

Body  Massage    1.00 

All  Ten  Courses  for  $10.00 

Each  course  includes  complete  direc- 
tions in  simplified  form.  Nearly  all  of 
the  ingredients  required  can  be  pur- 
chased at  any  drug  store,  such  as 
tweezers,  bowls,  saucers,  witch-hazel, 
glycerine,  cold  cream,  etc.,  except  the 
mud  bath,  which  is  my  own  secret 
preparation ;  but  I  will  make  a  special 
price  on  this  and  on  all  my  prepara- 
tions, if  my  pupils  prefer  them  to  others. 

This  is  an  Age  of  Beauty 

In  a  few  years  you  will  see  Beauty 
Shops  everywhere.  Learn  the  business 
now !  Start  in  a  small  way,  and  some 
day  you  may  own  a  handsome  Beauty 
Parlor  on  the  main  street,  with  dozens 
of  girls  doing  the  work  for  you.  There's 
Big  Money   in   it! 

CORLISS  PALMER 

Brewster  Buildings,  Brooklyn,  N.Y. 


M 


Ms? 


^ 


Joseph  Stella 

(Continued  from  page  11) 


"Armory  Show,"  the  first  official  presentation 
of  radical  painting  to  the  American  public. 
Since  that  date  he  has  been  a  frequent  ex- 
hibitor at  galleries  devoted  to  modern  art. 
During  his  many  years  of  hard  struggle  he  has 
received  the  loyal  support  and  encouragement 
of  his  brother,  the  eminent  Dr.  Antonio  Stella. 
In  a  lecture  delivered  before  a  gathering  of 
artists  in  New  York,  Mr.  Stella  made  this 
statement :  "I  dont  know  why,  but  when  I  look 
at  the  face  of  an  aesthete,  critic,  teacher,  I  get 
the1  same  feeling  of  immense  sadness  that 
comes  over  me  when  I  see  wax  tears  sliding 
gently  upon  a  coffin."  I  can  understand  his 
horror.  A  man  of  rich  sympathies  and  ex- 
pansive enthusiasms,  he  objects  to  dissections 
and  frigid  appraisal ;  he  abhors  labels,  and 
pledges  allegiance  to  no  particular  school.  But 
if  the  critic  can  help  the  public  to  appreciate 
pictures,  he  has  in  turn  helped  the  artist.  In 
writing  of  the  new  movements  I  have  found 
it  useful  to  revive  the  old  terms :  realism  and 
decoration.  By  realism  I  mean  not  photogra- 
phic illustration,  but  an  imaginative  concep- 
tion in  three  dimensions,  an  art  which  pre- 
serves the  solidity  and  depth  of  the  classical 
tradition ;  the  term  decoration  refers,  not  to 
the  trivial  confections  of  the  department  store, 
but  to  a  rhythmic,  two-dimensional  order  which 
goes  back  thru  Matisse  to  the  Primitives  and 
the  Chinese.  Both  are  aesthetically  valid — the 
choice  is  a  matter  of  temperament.  Mr.  Stella 
is  a  romantic  decorator.  Most  painters,  con- 
fusing the  word  romantic  with  the  dilute  senti- 
mentality which  we  associate  with  certain  Eng- 
lish schools,  would  strongly  resent  this  designa- 
tion. But  the  limitation  of  art  is  futile.  Paint- 
ing may  contain  anything.  It  may  be  flat  or 
solid.  Propriety  has  nothing  to  do  with  it — 
the  pertinent  question  is,  "Have  the  selected 
materials    unity    and    order?       Have    they    a 


relationship  which  is  productive  of  an  idea  or 
meaning  ?" 

Mr.  Stella  asks  for  freedom,  that  he  be  al- 
lowed to  do  as  he  pleases.  And  in  this  he  is 
quite  right.  His  attitude  toward  life  is  vision- 
ary ;  he  strives  to  put  into  graphic  form  the 
dreamy  and  the  ecstatic,  and  to  give  his  forms 
a  spiritual  significance.  Whether  the  motif  be 
the  human  head  or  the  Brooklyn  Bridge,  the 
result  is  a  curiously  personal  transvaluation,  the 
intricate  conflict  of  sensitive  line  with  definite 
representation.  His  conception  of  art  is  legiti- 
mate and  admirable,  but  a  difficult  matter  to 
externalize.  Unless  firmly  checked  by  the  es- 
sentials of  plastic  order,  it  leads,  on  the  one 
hand,  to  a  vague  and  formless  symbolism,  and 
on  the  other,  to  a  highly  refined  illustration. 
His  talent  is  complex  and  versatile,  ranging 
from  a  series  of  charming  flower-studies  done 
in  silver-point  to  large  and  elaborate  abstrac- 
tions. He  has  painted  a  huge  canvas  called 
"The  Tree  of  My  Life,"  a  sort  of  symbolical 
record  which,  tho  wanting  the  basic  grip  of 
strong  compositional  lines,  contains  details  of 
an  exceedingly  delicate  beauty.  Cubism  has 
taught  Mr.  Stella  to  subordinate  his  ecstasies 
to  a  rigid  design,  and  in  some  of  his  recent 
pictures  he  has  contrived  a  hard  geometrical 
scaffolding   to    support   his    exuberant   visions. 

Mr.  Stella  believes  that  the  American  artist 
should  stay  at  home,  "derive  his  motif  from 
his  own  life  and  surroundings,  and  work  strenu- 
ously." This  is  old  and  undeniable  doctrine, 
and  to  put  it  in  practice  he  has  occupied  himself 
with  the  delineation  of  industrial  activity. 
Factories,  skyscrapers  and  gas  tanks  are 
molded  by  his  imagination  into  architectural 
fantasies.  His  position  in  painting  will  depend 
upon  his  ability  to  give  meaning  and  coherence 
to  his  romantic  interpretation  of  modern 
life. 


1 J 1LLIILIIII1IE1IL1 IlTlll] 1 lltllllltlllllTIIF- 


Old  Laces  as  Collecting  Objects 


(Continued  from  page  63) 


Laws  aimed  at  the  suppression  of  such  lavish- 
ness  were  enacted,  however,  and  since  then  the 
wearing  of  lace  by  men  has  gradually  ceased. 

There  are  two  great  classes  of  lace  with 
which  collectors  and  lace  admirers  have  to 
deal :  point-laces  and  pillow-laces ;  and  these 
are  subdivided.  Point-lace  is  the  result  of 
work  done  entirely  with  the  needle  and  a  single 
thread  and  is  made  from  a  design  drawn  on 
parchment  or  glazed  linen ;  pillow-lace  is  the 
result  of  weaving,  twisting  and  pleating  vari- 
ous threads  upon  a  lace-maker's  pillow  or 
cushion.  Bobbins,  ranging  from  ten  to  several 
hundred,   are  used   in  the  making. 

The  legendary  basis  of  the  fairy-like  "rose 
point"  (Punto  di  Rosa)  is  a  most  interesting 
contribution  to  lace  folk-lore.  In  the  days  of 
long  ago,  when  maidens  in  every  station  were 
lace-makers,  a  sailor  brought  home  to  his 
sweetheart  some  treasures  of  the  sea  that  he  had 
gathered  while  diving  for  coral.  Before  sail- 
ing away  again  upon  a  long  and  dangerous 
voyage,  with  the  expectation  of  being  married 
upon  his  return,  he  urged  the  maiden  not  to 
spoil  her  eyes  with  useless  weeping,  but  rather 
to  use  them  in  making  a  wedding  veil  of 
which  he  might  be  proud  after  his  trip.  The 
days  passed,  going  into  months,  and  then  into 
years,  but  with  the  inspiration  of  love  she 
wrought  into  soft,  filmy  lace,  each  loving  gift 
of  tiny  shell,  delicate  marine  plant,  starfish, 
and  other  forms,  until  at  last  he  returned. 
When  the  wedding  day  arrived,  she  was  dressed 
in  a  head-covering  of  delicate  tissue  of  the 
inestimable  "rose  point,"  that  has  ever  since  been 
thought  worthy  to  adorn  the  persons  of  queens 
and  princesses. 

Irish  point  is  made  on  fine  batiste,  by  stitch- 
ing a  coarse  thread  around  the  design  and  then 
cutting  out  the  groundwork  and  filling  in  the 
open  spaces,  sometimes  with  connecting  loops 
and  knots  and  at  other  times  with  Punto  di 
Aria. 

Valenciennes  lace  (French),  as  is  the  case 
with  Brussels  lace,  is  made  of  flax  thread  of 
extraordinary  fineness.     The  former  was  used 


by  Marie  Antoinette,  to  trim  her  favorite  lawn 
dresses  and  fichus  when  she  and  the  ladies  of 
her  court  retired  to  the  Petit  Trianon  to  play 
at  being  shepherdesses. 

The  finest  of  these  laces  are  spun  in  dark 
and  damp  underground  rooms  to  avoid  the  dry 
air,  which  causes  the  thread  to  break — a  serious 
matter,  for  it  is  valued  at  more  than  two 
thousand  dollars  a  pound.  A  single  beam  of 
light  is  admitted  to  these  subterranean  apart- 
ments, which  is  focused  upon  the  lace-work 
and  from  which,  trying  as  it  is  upon  the  eyes 
of  the  lace-makers,  the  best  results  are  thought 
to  come.  Few  lace-makers  retain  their  sight 
after  the  age  of  thirty. 

As  this  lace  is  never  washed  before  it  is 
sold,  exquisite  neatness  is  required  in  every- 
thing  connected   with    it. 

The  bobbins  used  by  some  of  the  English 
and  other  lace-makers  possess  a  history  all 
their  own.  Sometimes  this  is  tinctured  with 
romance.  For  many  generations  these  bobbins 
are  carefully  handed  down  from  mother  to 
daughter.  Frequently  they  are  of  carved  wood 
or  bone.  They  are  weighted  by  means  of 
glass  beads  strung  upon  wires.  Sometimes  the 
sweetheart's  name  and  mottoes — frequently 
pathetic  and  always  curious — were  burned  into 
a  bobbin,  as  picture  frames  and  brackets  were 
ornamented  by  means  of  poker  work.  Ex- 
amples of  such  as  these  may  still  be  met  with 
in  certain  English  districts.  The  writer  has 
one  bought  in  England,  which  is  marked  Jesus 
— Love  on  opposing  sides  of  the  round  shaft. 

Lace  has  been  made  of  the  spider's  web, 
and  also  of  gold,  silver,  silk,  cotton  and  flax, 
to  which  may  also  be  added  Poil-de-Chevre, 
the  fiber  of  the  aloe,  employed  by  the  peasants 
near  Genoa  and  in  Spain.  The  fiber  of  the  pine- 
apple is  similarly  used  by  the  native  Filipinos 
in  the  manufacture  of  the  costly  Pina  lace  of 
their  Islands.  Madagascar  lace  is  a  native  pro- 
duction of  the  African  island  from  which  it 
takes  its  name.  Its  value  is  inconsequential,  but 
it  is  interesting  because  it  is  unlike  any  lace  of 
European  manufacture. 


Page  Seventy-Eight 


EDWARD    LAStEB    PRINTING    CO.,  INC., 
JAMAICA.     NEW     YORK     CITV. 


DONT  LOOK  LIKE  A  PAINTING! 


CORLISS  PALMER 


Use  a  powder  that  is 
individual  in  color  and 
quality  and  prove  that 
beauty  is  yours. 

We  recommend  this 
powder  to  you !  You — 
who  love  the  beautiful! 

One  shade — the  peach- 
bloom — has  proven  un- 
equalled in  day  attire, 
evening  dress  and  be- 
fore the  camera. 

Wonderful   as   to   its 
even  texture,  lovely  in 
its  Fragrance  and  unus 
ual  in  its  sticking  qual- 
ity. 

Be  natural  —  use  the 
shade  of  powder  to 
blend  with  the  flesh 
color  of  nature. 


Extract  from 

MOTION  PICTURE 
MAGAZINE 

I  have  tried  about  every  powder 
on  the  market  and  have  done  con- 
siderable experimenting  on  myself 
and  on  others.  There  is  no  de- 
nying that  there  are  several  very 
fine  powders  on  the  market,  but  I 
felt  that  none  just  suited  me,  and 
so  I  determined  to  make  one  that 
did.  You  see,  in  the  first  place, 
I  had  some  very  peculiar  ideas 
about  the  complexion  and  was 
very  hard  to  please.  I  am  very 
particular  about  tints  and  stay- 
ing qualities,  and  I  want  a  pow- 
der that  does  not  look  like  pow- 
der, that  will  not  blow  off  in  the 
first  gust  of  wind,  that  is  not  too 
heavy  nor  too  light,  that  will  not 
injure  the  complexion,  and  that 
will  not  change  color  when  it 
becomes  moist  from  perspiration 
or  from  the  natural  oil  that 
comes  thru  the  pores  of  the  skin. 
I  also  like  a  pleasant  aroma  to 
my  powder,  and  one  that  lingers. 
After  experimenting  with  pow- 
dered starch,  French  chalk,  mag- 
nesia carbonate,  powdered  orris 
root,  rice  powder,  precipitated 
chalk,  zinc  oxide,  and  other 
chemicals,  and  after  consulting 
authorities  as  to  the  effects  of 
each  of  these  on  the  skin.  I 
finally  settled  on  a  formula  that 
has  been  tried  out  undeer  all 
conditions  and  that  suits  me  to 
a  nicety.  And,  most  important 
of  all,  perhaps,  this  powder  when 
finally  perfected  had  the  remark- 
able quality  of  being  equally  good 
for  the  street,  for  evening  dress 
and  for  motion  picture  make-up. 
I  use  the  same  powder  before  the 
camera  for  exteriors  and  interi- 
ors, and  for  daily  use  in  real  life. 
So  do  many  of  my  friends,  and 
they  all  tell  me  that  they  will  use 
no  other  so  long  as  they  can  get 
mine.  As  to  the  tint,  it  is  a 
mixture  of  many  colors.  1 
learned  from  an  artist  years  ago 
that  there  are  no  solid  flat  colors 
in  nature.  Look  carefully  at 
anything  you  choose  and  you  will 
see  every  color  of  the  rainbow  in 
it.  Take  a  square  inch  of  sky,  for 
instance,  and  examine  it  closely 
and  you  will  find  every  color 
there.  Just  so  with  the  face.  Any 
portrait  painter  will  tell  you  that 
he  uses  nearly  every  color  when 
painting  flesh.  Nothing  is  white 
—not  even  snow,  because  it  re- 
flects every  color  that  is  around 
it.  White  face  powder  is  absurd. 
White  is  not  a  color.  The  general 
tone  of  my  powder  is  something 
like  that  of  a  ripe  peach,  and  I 
therefore  call  it  "Corliss  Palmer 
Peach   Bloom  Powder." 


Corliss  Palmer  Powder 

Price  One  Dollar  the  Box 

A  written  description  is  useless — a  trial  proves  the  truth ! 

Remember  that  we  have  the  exclusive  selling  rights  to  Corliss  Palmer  Powder. 
Send  a  dollar  bill  or  one-cent  or  two-cent  stamps  and  we  will  mail  you  a  box  of  this 
exquisite  powder.  • 

WILTON  CHEMICAL  CO. 


BROOKLYN,  N.  Y. 


Cut  out  and  mail  today 


WILTON  CHEMICAL  CO. 

BROOKLYN,  N.  Y. 

For    the    enclosed    One    Dollar    please    send    me    a    box    of 
CORLISS  PALMER  POWDER. 

Name    

Street 

City    and    State 




Hair  Saved  and  Beautified 

by  Inecto  Rapid  After  Being 

Almost  Destroyed  by  Other  Hair  Colorings 

Here  is  one  of  the  many  testimonial  letters  we  have  on  file  in  our  office:  "I  am  more  than  pleased 
with  the  results  obtained  by  Inecto  Rapid,  and  consider  it  the  only  hair  coloring  on  the  market. 
For  any  one  who  has  used  other  hair  colorings  Inecto  Rapid  seems  too  good  to  be  true." — J.B.T. 


Oh  the  pity  of  it,  that  women  should  apply  prepa- 
rations to  their  hair  which  may  improve  the  color 
temporarily,  but  which  make  the  hair  too  dark  or 
streaky  and  frequently  destroy  the  hair  itself.  Thou- 
sands of  women  have  suffered  this  calamity.  We 
hear  this  daily  from  those  who  are  now  using  Inecto 
Rapid  with  complete  success  after  simple  treatment 
to   remove   the    effects    of   harmful    preparations. 

Inecto  Rapid  is  scientific  and  ethical.  It  is  per- 
manent; it  benefits  the  hair,  besides  giving  it  the 
original    color. 


Mrs.  W.  B.  R.  writes:  "Your  Inecto  Rapid  is  all 
you  claim.  I  am  more  than  pleased  with  it.  After 
nearly  losing  my  hair  from  other  preparations,  I  am 
pleased  to  see  it  coming   back   again." 

This  letter  shows  another  case  in  which  a  woman's 
hair  was  rescued  from  the  effects  of  a  harmful  coloring. 
Inecto  Rapid  gives  an  appearance  that  absolutely  defies 


detection  from  natural,   never  produces  streaks,  never 
makes  the  hair  too  dark — always  the  correct  shade. 

If  you  have  used  a  hair  coloring  giving  bad  results, 
don't  despair  because  if  your  hair  is  not  utterly  dead, 
Inecto  Rapid  treatment  will  save  and  beautify  it. 
Just  fill  in  the  coupon  and  mail  to  us  and  we  will 
advise   you  how   to   use   Inecto   Rapid. 


Sold  under  these 
TEN  Guarantees 

1 — To   produce   a    color   that   cannot    be 

distinguished     from     the      natural 

color    under    the    closest    scrutiny. 

2 — Not   to   cause  dark   streaks  following 

successive  applications. 
3— To   maintain    a    uniform    shade    over 

a   period   of  year*. 
4 — To  be  harmless  to  hair  or  growth. 
5 — Not  to   make  the  texture  of  the  hair 
coarse  or  brittle  and   not   to  cause 
breakage. 
6     Never    to    cause    too    dark    a     color 
through    inability  to   stop   the   pro- 
cess at   the  exact  shade  desired. 
7 — To  color  any  head  of  naturally  gray 
hair  any   color   in   fifteen   minutes. 
8— To    be    unaffected    by    permanent 
waving,   r>alt    water,   sunlight,   rain, 
shampooing,    perspiration,    Rus- 
sian or  Turkish  baths. 
\      9 — Not    to    soil    linens    or 
hat   linings. 

10 — To      produce      a 
lelicate   ash    shade 
heretofore       im- 
\.      possible. 
INECTO,  Inc., 
33-3.")  West  46th  Street, 
New  York,  N.  Y. 

Gentlemen :  \ 

Please    send    me,  gratis,    full    details     N 

of  Inecto  Rapid   and  the   "Beauty   Analysis      X 
Chart."      Form    G-2. 


\ 


^ratfHair  Vanished 
in  15  minutes 


This  part  of  our  announcement  is 
streaked  or  dull  hair.  The  following 
"I  am  only  too  glad  to  tell  how  delighted  I 
am  with  Inecto  Rapid.  It  is  truly  wonder- 
ful and  has  turned  my  hair  back  to  its 
former  attractiveness.  It  is  easy  to  apply 
and  leaves  the  hair  so  soft  and  natural  look- 
ing. Truly  it  was  a  happy  day  for  me  when 
I  discovered  it.  Several  of  my  girl  friends, 
on  seeing  how  lovely  Inecto  Rapid  made 
my  hair,  have  applied  it  to  their  own,  not 
because  they  need  it  (were  not  gray),, but 
merely  for  the  added  attractiveness  it 
gives."— MISS   S. 


Name. 


Address 

City State. 


Inecto  Rapid  the  discovery 
of  Dr.  Emile  of  the  Univer- 
sity of  Paris  was  originally 
brought  to  this  country  from 
Europe,  where  97%  of  the 
best  hairdressers  use  it  ex- 
clusively. The  ultra-fashion- 
able shops  in  the  country, 
such  as  the  Plaza,  Commodore,  Biltmore, 
Waldorf-Astoria,  now  use  Inecto  Rapid  ex- 
clusively. From  coast  to  coast  beauty 
parlors,  including  Burnham  and  Marinello 
Shops,  unreservedly  endorse  Inecto  Rapid. 
Women  frankly  praise  Inecto  Rapid  and 
consider  it  as  essential  to  their  toilette  as 
face  powder  and  creams. 

Until  the  discovery  of  Inecto  Rapid  when  a 

woman's    hair    became    gray,    streaked    or 

faded    she    either    accepted    the    inevitable 

sign   of   age  or   applied   some   so-called 

restorative  which  produced  an  inhar- 

\       monious  or  destructive  effect.    In- 

s         ecto   Rapid,   however,  is   specifi- 

xx      cally    GUARANTEED    to 


for   women    who  have  naturally  gray, 
letter  is  the  key-note  of  the  message  : 

color  naturally  gray,  faded  or  streaked  hair 
in  any  desired  color  in  15  minutes  and  to 
preserve  its  original  beauty  and  texture. 
Its  results  cannot  be  detected  from  natural 
even  under  a  microscope.  It  operates  by 
repigmentation  instead  of  merely  coating 
the  surface.  Inecto  Rapid  is  harmless  to 
the  hair  or  growth — never  rubs  off  and  is 
unaffected  by  perspiration,  sunshine,  salt 
water,  shampooing,  Turkish  or  Russian 
baths  and  does  not  prevent  permanent  wav- 
ing or  other  hair  treatment. 

Inecto  Rapid  has  created  the 
art  of  hair  tinting.  It  is  con- 
trollable to  the  minutest  varia- 
tion of  a  shade  from  radiant 
blond  to  raven  black. 


Fifty  Thousand  Dol- 
lars will  be  paid  to 
anyone  proving  that 
any  Inecto  testimonial 
printed  is  not  only  au- 
thentic, but  unsolicited 


Thousands  of  women  suc- 
cessfully apply  it  in  the 
privacy  of  their  own  homes.  Every  woman 
who  is  not  completely  satisfied  with  the 
color  and  texture  of  her  hair  owes  it  to  her- 
self to  know  all  the  facts  about  Inecto  Rapid. 

SEND  NO  MONEY 

Just  send  us  your  name  on  the  coupon  and 
we  will  mail  you  full  details  and  "Beauty 
Analysis  Chart,"  enabling  you  to  find  the 
most  becoming  color  for  your  hair.  You 
are  also  invited  to  visit  our  Salon  where 
demonstrations  are  given  daily. 

Inecto,  Inc. 

Laboratories  and  Demonstration  Salon 
33-35  West  46th  Street,  New  York.  N.  Y. 

Largest  Manufacturers  of  Hair  Coloring  in    the  World 


Brett  Lithe.  Co.,  N.  Y. 


FEBRUARY 


35<z 


EXPRESSING  THE  ARTS 


A  BREWLTER   PUBLICATION 


Are    You   Reading 

FEASTERS 

IN 
BABYLON 

that  absorbing  story  of  motion-picture 
studio  life  in  Hollywood  —  bristling 
with  tense  situations  —  packed  with 
exciting  thrills  —  a  hundred-percent 
story  that  excels  in  realism,  dramatic 
intensity,  and  romantic  charm 


J\.ow  running  serially  in  the 

MOTION  PICTURE  MAGAZINE 

HT'HE  heroines  were  introduced  to  you  in  the  December  number 
— the  fiery  seventeen-year-old  Lissa  and  her  gentle  sister  Mary, 
two  years  older.  You  read  of  their  departure  from  the  dull  home 
town  for  Hollywood — of  their  disappointments — of  their  try-out  as 
extras — of  the  dangers  that  Mary  feared  and  that  Lissa  challenged. 

In  the  January  number  the  Villain  is  almost  crowned  King — but 
Mary  outwits  him,  saves  her  irresponsible  young  sister,  and  is  given 
a  glimpse  of  the  hero,  Dermott  Trent. 

In  the  February  instalment  many  thrills  and  surprises  await  you : 
Mary's  desperate  resolve  for  the  sake  of  Lissa — the  frenzied  party  at 
the  villa  of  a  millionaire  roue — the  threat  of  the  younger  sister — the 
contempt  of  Dermott  Trent — Mary's  visit  to  the  House  of  Mystery. 


£CDO 

fceuev. 


'W 


"A  man  has  but  one  moment  of  life  to  call  his  oivn. 

"The  moment  just  passed  into  the  score  of Time 's  count,  the  moment 
■which  the  ha?id  of  the  clock  trembles  over,  a  hair's  breadth  yet  to  go — 
these  are  no  man's  to  claim.  One  is  gone  forever;  the  other  may  mark 
the  passage  of  his  soul. 

"Only  this  moment,  this  throb  of  the  heart,  this  half  drawn  breath,  is 
a  living  man's  to  claim.  The  beggar  has  it — the  monarch  can  conunand 
no  more." 


^heValue  of 


CHIEF  train  dispatcher  for  the  world,  I  am  chief  life 
dispatcher  for  all  men. 

Fresh  minted  from  my  hand,  behold  a  New  Year  now 
spread  out  before  you. 

Half  a  million  golden  minutes — a  royal  treasure! 
Beware  lest  it  slip  away  through  careless  fingers. 

A  New  Year' s  resolution  ?  Aye,  here  is  one.  Say  to 
yourself  every  morning  of  the  year,  "Today  I  will  make 
every  minute  count!" 

That  this  will  make  all  your  dreams  come  true,  who 
should  know  so  well  as  I  ? 

For  I  am  Father  Time. 


( 


\ 


Page  Three 


^UADOWLAND 


Fifty~r  lfty  for  Progress 


The  big  obvious  need  of  this 
country  today  is  psychological 
— the  disposition  to  go  ahead. 
We  have  here  a  vast  ability  to 
produce,  and  a  vast  ability  to 
consume  the  products  of  in- 
dustry. Potentially,  Supply  and 
Demand  are  pretty  well 
matched.  The  main  trouble  is 
that  people  don't  demand 
enough  things  to  justify  indus- 
try in  doing  its  utmost  to  pro- 
duce. 

The  result  is  that  a  great 
amount  of  energy  is  being  spent 
on  trying  to  get  a  lion's  share  of 
the  existing  demand,  and  not 
enough  is  spent  on  trying  to 
create  the  demand  so  there  will 
be  enough  to  keep  everybody 
busy  supplying  it. 

This  brings  about  a  period  of 
keen  competition.  It  means  that 
everybody  must  work  harder 
and  accept  less  in  order  to  over- 
come the  sales  resistance  of  a 
curtailed  demand. 

Demand  is  largely  a  created 
thing.  The  actual  needs  of  hu- 
manity are  only  a  fraction  of  the 
general  demand.   It  is  always  a 


simple  matter  to  get  along  with 
less  than  one  would  like  to  have. 
When  the  public  gets  a  streak  of 
economy  it  curtails  the  demand 
for  everything  that  is  produced. 

Advertising  is  a  prime  mover 
in  creating  business.  It  rouses 
people  out  of  lethargy,  makes 
them  want  to  live  more  fully, 
and  to  possess  the  means  of  liv- 
ing more  comfortably  and  more 
enjoyably. 

When  sales  are  hard  to  get, 
then  most  people  who  have 
things  for  sale  increase  their  ef- 
forts to  sell.  The  harder  they  try 
to  sell,  the  harder  their  compet- 
itors try  to  sell.  But  no  amount 
of  selling  effort — in  the  usual 
sense  of  the  word — can  create 
demand ;  it  can  only  take  advan- 
tage of  the  demand  that  has 
been  otherwise  created. 

Advertising  and  Selling 
ought  to  be  considered  as  "fifty- 
fifty"  in  importance.  Advertis- 
ing creates  the  consumer  de- 
mand. Selling  connects  this  de- 
mand with  the  supply.  Each 
needs  the  other  to  make  its  work 
complete. 


[Published  by  the  Brewster  Publications,  Inc.,  in  co-operationH 
I  with   The   American   Association    of    Advertising   Agencies  I 


Page  Four 


JAN  29  1923 

©  CI  B  5  6900  5 


/ 


*. 


FEBRUARY,  1923 


/ 


f 


VOLUME  VII  , 


Expressing  the  Arts 


Important  Features  in  This  Issue: 


Number  6 


Painting  and  Sculpture: 

Jonas  Lie :  Poet  of  Today Edgar  Cahill 

Taos   the    Brilliant Melville   Johnson 

The  Quaint  Netsuke  of  Japan W.  G.  Bowdoin 

Architecture  : 

The  Spirit  of  Swedish  Architecture Eric  Ingre 


Literature  : 


A  Cantrip  of  Critics Burton  Rascoe 

The  Black  Dress  (translated  from  the  French) Jean  Moura 


Satire  and  Humor 
Drama  : 
Music: 
Dancing 


Shaw,  D'Annunzio,  Tolstoi:   Diabolistic  Idealists Benjamin  De  Casseres 

The   Passing   of   Finesse Thyra   Samter    Winslow 


The  Hamlet   of  a  Generation Kenneth  Macgowan 

Indian   Summer   (a  ten-minute  play) Pierre  Loving 


A  Memorable  Rehearsal Henry  Osborne  Osgood 

A  Mid-Season  Musical  Review Jerome  Hart 


A  Pictorial  Feature — Camera  studies  of  Pavlowa  and  members  of  her  Ballet;  the  Morgan 
Dancers;  Rose  Rolanda,  Gilda  Gray,  Doris  Humphrey  and  others 

Motion  Pictures: 

Ostentation  versus  Art Konrad  Bercovici 

Caricature  : 

Pages  by  Wynn,  August  Henkel,  Bill  Breck,  and  Stuart  Davis 

Arts  and  Crafts: 

The  Art  of  the  Silversmith Margaret  Breuning 

Photography  : 

Look  to  Your  Composition James  Wallace  Gillies 

Published    Monthly   by    Brewster    Publications,   Inc.,    at    Jamaica,  N.  Y. 

Entered   at   the   Post    Office   at   Jamaica,    N.    Y.,   as   second-class    matter,    under    the    act    oj    March    3rd,    1879.    Printed  in   U.  S.   A. 

Eugene     V.     Brewster,     President     and    Editor-in-Chief ;     Guy    L.     Harrington,     Vice-President    and    Business    Manager;    L      G.    Conlon,     Treasurer; 

E.    M.    Heinemann,    Secretary 

EXECUTIVE   and   EDITORIAL   OFFICES,    175   DUFFIELD   STREET,    BROOKLYN,   N.   Y. 

Editors : 
F.  M.   Osborne 
'  Jerome  Hart 


Managing  Editor:   Adele  Whitely   Fletcher 


Art  Director:    A.   M.   Hopfmuller 


Subscription  $3.50  per  year,  in  advance,  including  postage  in  the  U.  S.,  Cuba,   Mexico  and  Philippines;  in  Canada  $4.00,  and  in  foreign  countries,  $4.50  per 
year.     Single  copies,  35  cents.     Postage  prepaid.     One  and  two  cent  United    States  Government   stamps   accepted.      Subscribers   must  notify   us   at   once 

ot    any    change    of    address,    giving  both    old    and    new    address^ 


Copyright,    1923,     by  Brewster   Publications,    Inc.,   lit  the   United  States'and   Great  Britain 


-ssff^CTsscrzzBsa: 


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zrzrS&s: 


^Z^SQUlt.^ 


Paae  Five 


Waida 


A  WINTER  MORNING 


Page  Six 


THE    COQUETTE 

From  the  water-color  poster 
By  F.   Fabiano 


Courtesy  of  the  Babcock  Galleries 


SPANISH  DANCER 

Louis  Kronberg  received  his  first  instruction  in  the  Museum  of 
Fine  Arts,  Boston;  later  he  studied  in  New  York,  and  under 
Benjamin-Constant  in  Paris.  His  work  has  received  many  awards, 
and  he   is  represented  in  the  art  museums  of  our  leading  cities 


Courtesy  ot  the  Mcntross  Gallery 


THE  PERSIAN  MAID 

Charles  Allan  Winter  has  studied  in  France  and 
Italy — but  he  remains  an  individualist.  We 
have  no  other  painter  in  America  with  his 
peculiar  haunting  treatment.  The  painting  here 
reproduced    was    inspired    by    the    "Rubaiyat" 


<*Ja 


Courtesy  of  the  Babcock  Galleries 


SILENT  STREAM 


Jonas  Lie  does  not 
attempt  to  symbol- 
ize nature,  but  in 
portraying  nature 
to  impart  a  sense 
of  what  is  within 
and  what  is  beyond 


Jonas  Lie:  Poet  of  Today 

Who  records  on  canvas  the  various  moods  of  Nature  and  the  deeds  of  Man 

By  Edgar  Cahill 


WHERE  dues  Beauty  stand  in  the  eternal  struggle 
between  radical  and  reactionary?  Is  she  right 
or  left  winger— bolshevik  or  bourgeois?  Is  she 
an  urn  for  the  ashes  of  the  past,  or  an  arrow  of  longing 
for  the  future?  To  those  of  us  who  take  our  art  as  we 
take  our  "hooch" — on  prescription — she  must  be  one  or 
the  other.  Either  a  dream  from  a  dimly  glorious  and 
press-agented  yesterday,  or  a  vision  pointing  to  an  im- 
possibly perfect  tomorrow.  But,  to  that  artist  who  has 
real  significance  for  his  time,  Beauty  is  a  girl  of  today, 
to  be  loved  and  lived 
with  and  endured  by 
him  who  can  capture 
her.  And  it  takes  an 
artist  of  talent  to  do 
the  capturing.  I  have 
in  mind  an  artist  who 
has  been  unusually 
successful  in  captur- 
ing the  beauty  of  to- 
day. His  name  is 
Jonas  Lie. 

In  approaching  the 
work  of  Jonas  Lie 
from  this  point  of 
view  one  thinks  first 
of  all  of  his  industrial 
paintings  —  his  can- 
vases of  Broadway 
canons,  Brooklyn 
Bridge,  the  teeming- 
waters  around  Man- 
hattan, Utah  copper 
mines,  and  certainly 
of  his  Panama  Canal 
paintings.  In  the 
Panama  pictures,  The 
McGill  Locks,  The 
Heavenly  Host,  The 
Conquerors,  one  feels 
the  spiritual  beauty 
and  greatness  of  man's 
conspiracy  against 
space  and  matter.  The 
dignity  and  power  of 
industry  are  in  these 
records  of  modern 
man's  gravitation -an- 
nihilating contrap- 
tions, these  intense, 
terrific  thrusts  of 
lines  and  masses 
against  the  obstinate 
resistance  of  space. 

"The  poetry  of  in- 
dustry has  not  been 
fully  appreciated," 

says  Mr.  Lie.  "Just  as.  Velasquez  did  not  find  it  necessary 
to  clothe  his  sovereign  in  the  mantle  of  the  Greeks,  as 
Whistler  pointed  out,  so  it  is  not  necessary  for  us  to  clothe 
the  tremendous  frame  of  industry  in  antique  trappings. 
We  can  and  we  must  use  the  material  of  our  surroundings 
for  art.    Art  does  not  live  in  the  past.     She  lives  to  show 


JONAS  LIE 


us    the   beauty   of    the   present   moment,    to    make    today 
beautiful  for  us." 

Tho  Jonas  Lie  has  read  beauty  into  industry,  into 
modern  cities,  into  the  tumult  and  the  vibrant  disorder 
of  today,  that  is  not  his  whole  story  by  any  means.  He 
began  some  twenty-two  years  ago,  exhibiting  paintings 
of  snowy  hillsides,  windswept  trees,  brooding  sky  and 
water,  grey-white  things  of  somber  beauty  and  repressed 
power. 

A    Norwegian   by    birth,    he   has   always    loved   snow, 

feeling,  as  Scandina- 
vians do,  that  snow  is 
the  year's  coat  of  er- 
mine, the  white  man- 
tle that  protects  grass 
and  shrub  and  tree 
against  winter's  rig- 
ors. He  sees  more 
than  the  pictorial  side 
of  snow,  he  sees  its 
whiteness,  its  stillness, 
its  rich  lusciousness. 
That  is  part  of  his 
Scandinavian  heritage, 
for  tho  he  has  become 
an  American  of  the 
Americans,  both  as 
painter  and  as  citizen, 
the  influences  of  his 
childhood  are  there, 
about  the  deep  sub- 
conscious roots  of  his 
personality.  That  is 
why  he  loves  sea  and 
landscape  that  look 
Norwegian  —  upheav- 
ing, rugged,  wind- 
swept landscape, 
snowy  hillsides,  sails 
sweeping  the  grey  sea, 
the  splendid  disorder 
of  mast-studded  har- 
bors. 

Mention  of  the  sea 
brings  home  to  us  that 
Jonas  Lie  is  nephew 
and  namesake  to  Nor- 
way's greatest  writer 
of  sea  stories.  The 
first  dozen  years  of 
the  painter's  life  were 
spent  in  Norway.  At 
the  age  of  twelve, 
when  his  father  died, 
he  went  to  Paris.  He 
had  studied  drawing 
and  painting  with 
Christian  Skredsvig,  and  in  France  he  continued  his  art 
studies.  In  Paris,  he  lived  at  the  home  of  his  famous 
uncle,  around  whom  revolved,  in  those  days,  the  circle 
of  distinguished  Scandinavians  in  the  French  capital. 
At  the  end  of  a  year  the  young  artist  came  to  America, 
{Continued  on  page  70) 


Fillip 


Page  Eleven 


by  Albin 


HARLEQUIN 


Page  Twelve 


Posed  for  Hori  by  members  of  the  Pavlowa  Ballet 


GRETCHEN  AND  HANS 


Page  Thirteen 


A  scene  from  Burning  Sands,  showing  how  effectively  light  can  be  used  to  beautify 


Famous  Players-Lasky 


Ostentation  versus  Art 

So  long  as  producers  believe  beauty  is  synonymous  with  costliness, 
motion  pictures  will  have  no  artistic  value 

By  Konrad  Bercovici 


DURING  my  half  year's  stay  at  Hollywood,  visit- 
ing every  studio  of  any  importance  there,  and 
closely  associated  with  a  few,  I  tried  to  under- 
stand why  the  studio  products  bear ■ so  little  relation  to 
art.  With  photography  advanced  as  it  is  now,  and  lighting 
and  all  the  other  technical  developments  brought  almost 
to  the  point  of  perfection,  it  seemed  to  me  that  the  cry 
that  the  motion  picture  industry  is  as  yet  in  its  infancy  is 
far  from  the  truth.  As  a  matter  of  fact,  it  has  reached 
the  height  of  its  maturity,  even  almost  to  the  point'  of 
senility !  For,  with  all  the  marvelous  means  now  avail- 
able, results  are,  generally  speaking,  still  ridiculous. 

As  for  the  wretched  literary  quality  of  the  pictures,  it 
has  been  said  that  the  fault  lies  with  those  who  write 
for  the  screen.  It  is  easy  to  dispose  of  this  accusation  by 
recalling  to  mind  the  picturization  of  this  or  that  well- 
known  story  or  novel.  The  result  is,  almost  always,  the 
same.  There  is  hardly  any  semblance  left  of  the  original. 
The  writer  is  really  allowed  no  opportunity  at  all. 

A  story  is  generally  bought  by  a  moving  picture  com- 
pany for  certain  original  values  which  it  contains.  Yet, 
in  its  translation  to  the  screen,  all  these  values  are  lost. 
Conveying  the  author's  words  and  thoughts  on  the  printed 
page  to  the  screen  is  like  carrying  a  fine  wine  to  its  des- 
tination in  a  sieve.  Nothing  whatever  is  left  when  it 
reaches  the  end  of  the  journey.  Scarcely  even  the  color 
of  the  wine ! 

It  seems  to  me  that  the  chief  cause  of  the  "cheapness", 
of  pictures  lies  in  the  fact  that  the  making  of  them  in- 
volves the  outlay  of  too  much  money.  Because  of  this, 
only  opulent  business  men  can  afford  to  be  interested  in 
the  creation  of  moving  pictures.  gWhen  a  picture  con- 
sumes anything  from  a  quarter  of  a  million  dollars  to  a 
million  and  a  half,  the  question  can  no  longer  be  one  of 
art,  but  of  returns  on  the  capital  invested,  and  the  high 
salaries  of  directors  and  actors  eat  up  no  small  part  of 
the  total  amount  expended. 


Because  the  producers  are  business  men  and  not  artists, 
great  weight  is  put  upon  expensive  scenery  and  expensive 
costumes  that  often  bear  not  at  all  upon  the  theme  of  the 
story,  thus  diverting  the  attention  of  patrons  from  the 
meat  to  the  dressing.  And,  like  all  rich  dressings  served 
with  inferior  meat,  this  brings  about  dire  results  in  regard 
to  what  might  be  a  wholesome  inherent  artistic  apprecia- 
tion, for  which  one  is  entirely  willing  to  give  an  audience 
credit. 

The  idea  most  producers  have  is  that  if  the  picture  is 
sumptuous,  if  it  has  cost  a  fortune  to  produce,  the  spec- 
tators get  their  money's  worth.  If  the  producer  is,  say, 
a  former  cloak-manufacturer,  he  insists  that  the  actresses 
and  actors  wear  the  most  expensive  costumes,  for  he 
is  sure  that  such  things  will  interest  the  people.  If  he 
is  a  builder,  there  must  be  magnificent  interiors,  sumptu- 
.ously  decorated  and  expensively  furnished,  for  this,  he 
thinks,  is  what  interests  the  people  most. 

It  is  not  only  that  there  seems  to  be  deliberate  and 
stupid  intent  to  make  moving  pictures  acceptable  to  chil- 
dren of  twelve  or  to  people  of  twelve-year-old  intelligence, 
but  it  is  also  that  producers  can  think  of  nothing  but  the 
returns  on  the  investment  made.  Which,  after  all,  is 
quite  natural.  For  no  one  but  a  philanthropist  would  put 
a  vast  sum  into  a  project  and  care  nothing  about  the 
monetary  fruit  to  be  born  of  it.  •  Just  as  long  as  this 
obtains  there  is  no  hope  for  more  artistic  results  in  the 
picture  world. 

It  is  safe  to  estimate  that  of  the  total  cost  of  a  moving 
picture,  only  one-fortieth  goes  to  the  author.  He  is,  as 
a  matter  of  fact?  considered  the  least  important  and  the 
least  expensive  item  in  the  making  of  a  picture.  After 
the  amount  agreed  upon  is  paid  to  him,  he  is  more  or  less 
politely  bowed  off  stage,  and  his  function  practically  ends 
Seldom,  if  ever,  is  he  consulted  subsequently  as  to  matter 
pertaining  to  the  "screenic"  production  of  his  work. 

At  least  there  is  this  to  be  said,  that  the  public  now 


Paye  Fourteen 


SUAOOWIAND 


knows  the  author  cannot  he  hlamed  for  what  is 
done  to  his  story  on  the  screen.  The  author 
knows  too  that  the  people  are  "wise,"  for  they 
have  frequently  first  read  the  story,  in  a  maga- 
zine, perhaps,  or  in  hook  form,  long  before  its 
transfer  to  the  screen.  This  in  a  way  soothes 
the  author's  artistic  conscience.  But  not  his 
artistic  sense. 

It  seems  to  me  that  no  story  or  book  should 
be  bought  from  any  author  outright.  There 
should  be  a  royalty  basis,  as  in  the  theater  and 
publishing  world.  Then  the  author,  if  per- 
mitted, will  be  interested,  as  part  owner  of  the 
picture,  to  stay  with  it  and  help  supervise  the 
production  until  the  very  end,  so  that  he  can 
endorse  the  transcription  to  the  screen  as  his 
own  work ;  be  ashamed  if  it  is  below  his 
standard,  and  proud  if  it  reaches  up  to  it. 

This  has  another  advantage.  It  is  almost 
certain  to  lessen  the  cost  of  production,  the 
author  being  more  concerned  with  the  develop- 
ment of  the  story  than  with  the  redundancies 
and  "side-shows"  that  movie-parasites  seem  to 
think  so  important,  such  as  unnecessarily 
elaborate  gowns  -and  bizarre  accessories  that 
have  little  or  nothing  to  do  with  the  main 
drift  of  the  author's  original  story. 

Except  for  perhaps  a  half  dozen  spectacular 
pictures,  I  have  seen  but  few  that  could  not 
have  been  greatly  beautified  at  one-fifth  the 
cost,  merely  by  the  art  of  simplification.  In- 
deed, it  seems  to  me  that  the  smaller  the  amount 
of  money  expended,  the  greater  the  artistic  pos- 
sibilities for  a  good  picture.  Chaplin's  pictures 
are  an  example  in  point.  Of  course,  I  am  told 
that  these  simpler  pictures  would  not  realize 
as  much  money  as  the  gorgeously  mounted 
ones.     Even  if  I  were  ready  to  believe  that,  it 


John  Ellis 

A  set  from  Omar,  the  Tentmaker, 
exceptional  in  its  artistic  simplicity 

At  the  left  is  a  set  used  in  The 
Enchanted  City,  which  stands  out 
among  motion  pictures  because  its 
creator,  Warren  A.  Newcombe,  is 
attempting  to  do  for  the  screen 
what  the  modern  masters  of  deco- 
ration have  so  successfully  done 
for  the  speaking  stage 

would  only  mean  the  re-educa- 
tion of  exhibitors  and  movie 
fans,  teaching  them  to  recog- 
nize good  stuff  in  inexpensive 
form. 

After  all,  are  we  really 
doing  the  public  justice  in 
supposing  all  the  time  that 
they  would  not  like  this  or 
that  fine  thing  when  we  do  not 
give  it  to  them  frequently 
enough  to  test  their  taste  ? 
And  even  if  once  in  ever  so 
rare  a  period  a  good  and  in- 
expensive picture  is  put  before 

(Continued  on  page  69) 


Page  Fifteen 


The    fair    maid    only    looked    the    fairer    when 
glimpsed  over  the  head  of  an  unalluring  chaperon 


The  Passing 

of 

Finesse 

By 
Thyra  Samter  Winslow 


ISN'T  is  simply  wonderful,"  the  modern  matrons 
exclaim,  "how  our  young  people  get  along  together 
— doing  the  same  things,  playing  the  same  games, 
so  frank  and  clubby — none  of  this  mock-modesty  that 
existed  among  girls  of  older  generations !" 

Yes.  it  is — simply  wonderful.  It's  even  more  than 
that — far  more.  The  results  seem  to  curve  slightly 
toward  the  terrible.  Girls  have  stepped  down,  not  up, 
to  their  present  state  of  frankness  andclubbiness.  They 
have  been  so  busy  buying  golf  sticks  and  knicker  suits 
and  learning  how  to  inhale  that  they  have  forgotten  the 
most  important  thing  in  their  relationship  with  men — 
finesse.  Finesse,  alas,  passed  away  when  mannish 
opinions  and  freedom  for  women  came  in. 

Dont  misunderstand  me.  I'm  not  against  freedom  for 
women.  If  women  want  to  vote  or  smoke  or  work— let 
'em.  The  only  trouble  with  the  whole  thing. is  this :  Wom- 
en do  not  want  to  work.  They  want  to  be  just  as  idle  and 
just  as  catered  to  as  did  the  women  of  generations  ago. 
They  want  the  other  things,  too.  They  cant  have  both. 
They  have  gained  cigarets  and  lost  beaux.  They  have 
gained  the  vote  and  lost  adoration.  They  have  gained 
business  equality  and  lost  a  chance  for  graceful  idleness. 

The  only  trouble  is — the  women  aren't  happy.    They 
have  gained  the  right  to  work — and  men  are  perfectly 
willing  to  let  them  work — and  support  themselves.    They 
have  gained  the  right  to  keep  their 
own   names — and   men  "  are   rather 
insisting  that  they   do   keep   them, 
without    offering    any    benefit    of 
clergy  toward  a  change.  Of  course, 
some    women    are    marrying,    but 
these  are  the  superwomen  who  have 
been   able   to   keep   a   certain   skill 
and  artifice,  in  spite  of  the  times. 
The   frank,  jolly,   clubby  girl   isn't 
marrying.    The  men  just  dont  want 
her. 

The  girls,  the  average  man  of  to- 


day knows,  are  probably  getting  just  as  much  salary 
as  he  is.  He  wouldn't  have  the  courage  to  propose, 
even  if  he  wanted  to.  And  he  doesn't  want  to.  Why 
should  he  offer  to  support  some  idle  woman  for  life 
when,  instead,  he  can  get  free  dinners,  see  the  girl  he 
likes  when  he  wants  to  and  where  he  wants  to,  and 
can  spend  hours  enough  with  her  to  bore  even  the  most 
ardent?  The  average  young  man  doesn't  mind  buying 
a  drink,  even  at  great  cost,  or  cigarets  or  a  dinner;  but 
he  balks  at  a  marriage  license.  The  girl,  having  lost  all 
of  those  cultivated  subtleties  of  other  generations,  doesn't 
know  how  to  force  the  modern  young  man  into  matri- 
mony. So  she  pretends  that  she  prefers  working  and 
being  a  good  pal.  It's  the  only  thing  that's  left  for  her. 
She  has  brought  on  the  whole  thing  by  stepping  down 
from  her  charming  position  as  a  graceful,  fragile,  dainty 
figure  to  be  adored,  fought  for — and  won. 

Girls  of  other  generations  were  quite  as  frankly  "out 
after  the  men"  as  girls  are  today.    They  were  just  more 
(Continued  on  page  70) 


While  awaiting  the 
arrival  of  her  suit- 
or, the  Eighteenth- 
Century  lady  held 
a  glass  egg  in  her 
hands,  that  they 
might  be  cool  when 
he    kissed    them 


Page  Sixteen 


A  camera  study,  by  Edwin  Bower  Hesser,  of  Madge  North  of  the    Greenwich  Village  Follies 


A  FLORENTINE  LADY 


Page  Seventeen 


At  the  right  is 
young  Sitwell, 
an  artist  of  the 
unc  onscious, 
who  never 
leaves  his  stu- 
dio; he  dreams 
over  his  sub- 
jects    for     daze 


It  is  unnecessary  to 
introduce  the  art 
teacher  at  the  right 
— we  have  all  met 
him.  He  has  just 
told  Mamma  tliat 
there  is  something 
in  little  Genevieve's 
sketch  that  reminds 
him  of  Botticelli. 
He  wins  another 
pupil  immediately 
and  without  having 
the  usual  questions 
asked  about  the 
cost   of   the   course 


Artists 

We 

Have  Met 

By  Stuart  Davis 


At  the  left  is  Har- 
old Holdout  start- 
ing out  at  sunrise 
to  look  for  a  sub- 
ject to  paint.  He 
will  return  at  sun- 
set, after  tramping 
miles  and  miles  in 
the  country,  with 
sketch-book  and 
brushes  unsullied. 
His  excuse  will  be 
that  he  has  seen  so 
many  interesting 
things  that  he  just 
couldn't  decide 
which  one  to  paint 


We  introduce  Doris 
Dumm  (above), 
the  champion 
heavyweight  paint- 
er of  miniatures 
and  thumbnail 
sketches.  Much  in- 
terest is  added  to 
her  work  because 
she  wields  her 
wicked  brush  with 
her  left  hand 


Page  Eighteen 


A  Memorable  Rehearsal 

How  Richard  Strauss  directed  his  famous  opera,  Der  Rosenkavalier 

Efy  Henry  Osborne  Osgood 


if 


M 


Scene:  A  palatial  apartment  in  the  best  Urbanesque  style.  A 
canopied  bed  discreetly  occupies  a  corner  of  the  room.  A  beautiful 
woman  in  the  midsummer  of  life,  clad  in  a  very  unbecoming 
peignoir,  is  seated  at  a  dressing-table  the  while  she  fixes  a  some- 
what disordered  and  equally  unbecoming  wig.  A  handsome  youth 
is  kneeling  at  her  feet.  The  two  become  greatly  preoccupied  with 
each  other   when   there  is  a  noise  of  someone  coming. 

Y  husband!"  cries  the  Feldmarschallin   (Flor- 
ence 

Eas-  __--__^™^M^mmM_M-_»___^«um__, 

ton)  in  despair, 
as  the  noise  in 
the  passage,  fol- 
lo  wed  by  a 
knock  on  the 
door,  interrupts 
her  fond  tete-a- 
tete  with  Octa- 
vian  (Marie 
Jeritza). 

But  Feldmar- 
schallin Easton 
is  wrong,  for,  as 
her  youthful, 
impetuous  lover, 
Octavian  Jeritza, 
scurries  to  con- 
ceal himself  be- 
hind the  bed  in 
the  alcove,  it  is 
the  burly  figure 
of  Baron  Ochs 
von  Lerchenau 
(Paul  Bender), 
her  cousin,  that 
fills  the  doorway 
of  her  boudoir, 
forcing  himself 
in  and  saluting 
her  with  the 
awkward  flour- 
ishings  of  his 
foot  and  the 
gauche  buckling 
of  his  ungainly 
bulk  that  at  once 
give  one  an  idea 
of  his  ability  as 
a  comic  actor. 

This  scene  is 
in  the  first  act 
of  Richard 
Strauss's  Der 
Rosenkavalier, 
revived  last  No- 
vember at  the 
Metropolitan 

Opera  House  after  six  years  of  silence  due  to  circum- 
stances beyond  the  control  of  General  Director  Gatti- 
Casazza. 

Paul  Bender  is  the  big  bass  who  has  been  the  pride  of 

the  Munich  opera  for  fifteen  years  or  more.    He  is  known 

p  all   thru    Central    Europe,   and   in   England,    France   and 

Spain  as  well,  as  one  of  the  finest  singing  actors  of  the  day. 


Paul  Bender,  the  original  Baron  Ochs  in  Der  Rosenkavalier 


His  best  roles  are  Wagner's  Wotan,  and  Hans  Sach, 
and  also  this  Ochs  von  Lerchenau,  of  which  he  is  un- 
doubtedly the  best  representative  today.  Now,  his  Metro- 
politan debut  delayed  eight  years  because  of  the  war,  he 
has  come  to  show  us  what  he  can  do. 

Unlike  most  German  singers,  Paul  Bender  takes  pains 
really  to  sing,  instead  of  merely  shouting  or  declaiming. 

His  acting  pow- 
ers were  shown 
at  once  by  the 
clean  -  cut  de- 
lineation of  the 
character  of 
Baron  Ochs  von 
Lerchenau.  This 
Austrian  country 
nobleman  is  not 
the  comic  buf- 
foon which  the 
tasteless  Goritz 
made  of  him  in 
the  original  Met- 
ropolitan pro- 
duction, but  a 
man  of  good 
family,  whose 
boorishness  is 
merely  a  part  of 
the  code  of  man- 
ners in  which  he 
has  been  bred. 
He  is  never  in- 
tentionally com- 
ic, but  always 
unconsciously 
so ;  and  so  Ben- 
der plays  him,  in 
contrast  to  Gor- 
itz's  utterly  mis- 
taken presenta- 
tion. 

And,  as  Ben- 
der made  his 
first  entrance  the 
evening  of  his 
Metropolitan  de- 
but, my  memory 
flashed  back  to 
that  other  eve- 
ning, one  of  the 
last  in  January, 
1911,  when  I 
Mishkin  had  seen  him 
play  Ochs  for 
the  very  first 
time.  The  first 
performance  of  Der  Rosenkavalier  took  place  at  Dresden, 
on  January  the  twenty-sixth  of  that  year,  and  the  pres- 
entation at  the  Munich  Royal  Opera — as  it  was  then — 
came  only  two  or  three  days  later. 

Felix  Mottl,  fatally  stricken  at  that  same  desk. during 
a  Tristan  performance  only  a  few  months  later,  was  the 
{Continued  on  page  68) 


Page  Nineteen 


Alfred  Cheney  Johnston 


GILDA  GRAY 

Who  is  one  of  the  highest  attractions  of  the 
"Ziegfeld  Follies"  and  the  Rendezvous,  and  who 
plans  to  spend  the  spring  and  summer  in  Europe 


Page   Twenty 


ROSE  ROLANDA 

Whose  vivid  personality  and 
artistic  dancing  have  won  her 
an  enviable  host  of  admirers. 
At  present  Miss  Rolanda  is 
one  of  the  stars  of  the 
"Music  Box  Revue"  in  Chicago 


Hori 


VALERIE  CARLSON 

One  of  the  most  beautiful 
women  on  the  English  stage, 
and  an  actress  of  great  talent. 
She  is  the  daughter-in-law 
of  Henry  Arthur  Jones,  the 
famous    English    playwright 


Page  Twenty-One 


|B9g 


Looking  out  into  the  court  of  the  Town 
Hall  of  Stockholm.  At  the  right,  the 
entrance  to  the  city's  Technical  College 


WHEN  is  a  building  just  a  building 
and  when  is  it  a  piece  of  architec- 
ture? That  is  a  question  for  our 
American  architects.  It  is  a  question  which 
has  been  answered  in  various  ways  down  the 
generations  of  man.  Each  generation  must 
answer  in  its  own  manner  and  stand  or  fall 
by  its  decision.  Our  generation  has  seen 
many  attempts  to  produce  buildings  that  are 
architecture.  But  nowhere,  I  think,  in  our  day, 
has  there  been  a  more  interesting  architectural 
development  than  in  Sweden. 

Architecturally  speaking,  the  Swedes  are 
in  the  same  boat,  or  nearly  the  same,  as  we  in 
America.  They  have  a  conglomeration  of  in- 
fluences working  upon  them.  They  have  their 
old  castles  and  country  churches  in  a  more 
characteristic  Northern  style,  and  then  a  suc- 
cession of  waves  from  the  seven  seas  of  archi- 
tecture. There  are  the  Byzantine  and  other 
semi-Oriental  andsOriental'  styles  brought  in 
by  the  Vikings  and  traders  with  Constan- 
tinople and  the  East.  There  is  the  Russian 
which  filtered  into  Sweden  thru  long  centuries 
of  war  and  commerce  with  Muscovy.  There  is 
the  Gothic  coming  by  diverse  channels  from 
England,  France  and  Germany,  and  then 
there  is  the  Renaissance  and  the  baroque, 
brought  in  by  a  line  of  art-loving  and  classic- 
istic  kings,  like  Gustavus  III.  Not  to  men- 
tion the  more  modern  styles  from  France, 
Germany  and  elsewhere. 

Out  of  this  heterogeneous  mass  of  influences, 
it  was  up  to  the  Swedish  architect  to  develop 


The  Spirit 

of 

Swedish 

Architecture 


Modern  Swedish  Architecture  is  a 
development  of  the  last  two  or  three 
decades;  its  leading  exponents,  have 
succeeded  in  fusing  spirit  into  the 
building  of  their  time.  And  even 
buildings  must  have  spirit  if  they 
are  to  be  considered  works  of  art 


By  Eric  Ingre 


Page  Twenty-Two 


SuAPQWLAND 


a  st>lc  of  his  own,  and  he  has  done  it 
rather  well.  The  influences  are  unmis- 
takably there.  But  they  have  been  fused, 
and  something  has  been  added.  And  what 
is  originality,  but  just  that — a  fusion  of  old 
things  with  something  added.  The  Swed- 
ish architect  has  taken  out  of  his  wealth 
of  influences  what  he  considered  good.  To 
these  he  has  added  the  principles  of  modern 
art,  filtered  both  thru  the  alembic  of  his 
personality,  and  the  result  has  been  such 
magnificent  distillations  as  the  Stockholm 
Town  Hall,  the  Stockholm  Technical  High 
School,  the  Enskilda  Bank,  the  Masthugs 
Church  in  Gothenburg,  and  the  extremely 
interesting  buildings  of  the  Gothenburg 
Exposition  for  1923,  now  in  process  of 
construction. 

The  modern  art  impulse  has  been  an 
active  leaven  in  Swedish  architecture. 
When  I  asked  Arvid  Bjerke,  who  with 
Sigfrid  Ericson,  is  putting  up  the  Gothen- 
burg Exposition,  just  what  his  idea  had 
been  in  planning  that  remarkable  group  of 
buildings,  he  replied : 

"What  first  occurred  to  us  was  to  do 
something  in  the  style  of  a  modern  paint- 
ing. We  had  a  hill  to  build  around.  We 
wanted  to  construct  a  series  of  architectural 
masses  about  that  hill  to  achieve  with  solidity 
the  liveliness,  the  subtle  balance,  and  the 
musical  relation  of  volumes  you  find  in 
modern  painting.  That  plan  was  not 
practicable.  The  present  group  of  buildings 
is  a  compromise  with  the  original  plan." 

Looking  at  the  Gothenburg  Exposition 
buildings,  at  the  Stockholm  Town  Hall,  and 
at  any  number  of  other  modern  Swedish 
structures,  one  discovers  what  Mr.  Bjerke 
was  driving  at.  Like  all  artists,  he  is  more 
eloquent  in  the  deed  than  in  the  word. 
Two  things  stand  out  in  all  these  buildings, 
vivid  life  and  severe  solidity.  These  build- 
ings are  alive  in  all  their  parts,  and  they 
are  severely,  solidly,  massively  planted  on 
their  foundations.  Every  weight  has  its 
proper  visible  support.  Everything  is  firm- 
ly integrated.  But  there  is  life  and  move- 
ment. '  The  arches  leap  together.  The 
masses  balance  each  other  in  unexpected 
ways.  Brick  and  stone  are  handled  with 
great  freedom.  There  is  a  fine  use  of  slight 
variation.  Little  irregularities  add  to  the 
expressiveness  of  the  building. 

In  the  Stockholm  Town  Hall  a  veritable 
riot  of  influences  is  discernible  —  Russian, 
Renaissance,  Byzantine,  even  Moorish.  The  picture  here 
reproduced  looks  Oriental.  But  the  effect  of  the  whole 
building  is  not  Oriental.  There  is  a  sort  of  architectural 
democracy  in  the  Stockholm  Town  Hall,  as  in  other 
Swedish  structures,  in  which  each  influence  has  its  vote. 
Yet  the  total  effect  is  something  different.  It  is  said 
that  democracies  —  even  architectural  ones  —  never  get 
what  they  want.  Happily,  in  so  doing,  they  escape  one 
of  Oscar  Wilde's  two  great  tragedies.  They  get  some- 
thing else.  That  "something  else"  in  the  case  of  Swedish 
architecture  is  usually  a  very  delightful  thing. 

Modern  Swedish  architecture  is  a  development  of  the 
last  two  or  three  decades.  Its  leading  exponents  are 
such  men  as  Ragnar  Ostberg,  creator  of  the  Stockholm 
Town  1  [all,  Carl  Westman,  Ivan  Tengbom,  Carl  Berg- 
sten,  Sigfrid  Ericson,  Arvid  Bjerke,  to  mention  a  few. 
Each  has  a  different  angle  on  the  problem,  but  all  meet 


The  impressive  Town  Hall  of  Stockholm,  designed  by  Ragnar  Ostberg 


at  a  common  center.  All  have  succeeded  in  infusing 
spirit  into  the  building  of  their  time.  And  even  buildings 
must  have  spirit  if  they  are  to  be  considered  as  works  of 
art. 

Our  architects  might  well  go  to  Sweden  for  ideas. 
Trumpets  have  sounded  more  than  once  for  a  resurrec- 
tion of  architecture  in  America.  And  they  do  not  seem 
to  have  sounded  entirely  in  vain.  Out  of  the  spacious 
graves  of  dead  European  styles  we  have  raised  enor- 
mous-bodied buildings.  But  most  of  these  great  struc- 
tures still  belong  to  the  architectural  Robots.  They  lack 
that  indefinable  thing  called  spirit. 

"I  think  your  American  buildings — by  that,  I  mean 
especially  your  skyscrapers  (I  find  your  villa  architec- 
ture very  good) — interesting  as  buildings,  but  not  as 
architecture,"  said  Arvid  Bjerke.  And  there  we  are, 
at  the  same  question  with   which   we  began. 


Page  Twenty-Three 


Famous 

French 

Tapestries 


At  the  left  is  one  of  three 
fragments  of  a  large  hang- 
ing, presumably  made  for 
Charles  VII  of  France. 
The  rose  was  the  King's 
emblem;  the  red,  white 
and  green  of  the  striped 
background  were  the 
King's  colors.  This  tapes- 
try was  probably  woven 
in  1435,  when  a  treaty  of 
peace  was  signed  at  Ar- 
ras between  Charles  VII 
and  Philip  the  Good, 
Duke  of  Burgundy 


Courtesy  of  the  Metropolitan  Museum  o 


Courtesy  ot  the  Anderson  Galleries 


At  the  right  is  the 
fifth  in  a  set  of  six 
Gothic  tapestries  rep- 
resenting "The  Hunt 
of  the  Unicorn."  This 
magnificent  set  was 
woven  by  order  of 
Jean  I  de  La  Roche- 
foucauld and  his  wife, 
between  the  years  1450 
and  1460,  and  has  been 
hidden  for  centuries 
in  the  Castle  of  Ver- 
teuil  in  France,  the 
ancestral  seat  of  the 
family.  The  tapestries 
were  brought  to  this 
country  recently  and 
have  been  acquired  by 
an  American  collector. 
They  are  thickly  inter- 
Woven  with  gold,  and 
are  more  beautiful  in 
design  and  richer  in 
quality  than  the  fa- 
mous Cluny  series  in 
the  Museum  of  Paris 


Page   Twenty-Four 


©  Albin 


ANNA  PAVLOWA 

The  High  Priestess  of  the  Dance,  who  is  claiming 
numberless  devotees  in  her  tour  of  the  Far  East 


Page  Twenty-Seven 


W  .;.V. 


MOTHERHOOD 


Eugene  Higgins  is  one  of  the  foremost  of  our  American  impressionistic  artists'  He  has  vision, 
intellect  and  personality.  His  work  shows  no  direct  influence  of  any  school;  it  is  neither  con- 
servative nor  radical.  When  a  student  at  the  Ecole  des  Beaux  Arts  in  Paris  he  made  a  series 
of  sketches  and  drawings  bold  in  technique,  depicting  the  darkest  side  of  the  gay  city.  Wan- 
dering thru  the  slums,  he  found  inspiration  in  the  dives  and  hang-outs  of  the  underworld.  Such 
environment  leaves  a  lasting  impression  on  a  sensitive  mind.  It  decided  Eugene  Higgins'  career 
for  him — to  the  present  day  he  prefers  to  search  for  his  compositions  among  the  poor  and 
oppressed.  There  is  nothing  pretty,  nothing  frivolous  about  his  work.  There  is  no  attempt 
to  please  thru  surface  quality.  He  tells  his  story  in  simple  language,  eliminating  everything 
that  is  not  absolutely  essential.  There  is  a  remarkable  dramatic  mood — at  times  almost  depress- 
ing— in  his  masterly  interpretations  of  sorrow,  suffering  and  poverty.  Mr.  Higgins  was  elected 
A.  IS.  A.  in  1920.  His  work  has  been  included  in  exhibitions,  both  here  and  on  the  continent. 
At  the  showing  of  the  National  Academy  this  year,  he  was  represented  by  five  etchings  and 

one  oil,  "Primitive  Conveyance" 


Page  Twenty-Eight 


Drawings 


m 


Chalk 


B;y 


Eugene  Higgins 


Courtesy  of  Mrs.  Albert  Sterner 


HEAD  OF  AN  ANARCHIST 


THE   CART-MAN 


The  three  drawings  here  reproduced  are 
made  in  red  chalk,  and  exemplify  the 
simplicity  of  Eugene  Higgins'  ivork,  the 
directness  of  his  method,  and  the  effect 
of  solidity  which  he  achieves.  The  sketch, 
"Motherhood,"  on  the  opposite  page,  is 
almost  like  a  sculpture  in  its  modeling. 
The  figure  of  the  Cart-Man  is  a  true  im- 
pression, for  it  arouses  not  so  much  a 
feeling  of  admiration  for  the  realism  of 
the  drawing  as  a  feeling  of  sympathy  for 
the  forlorn,  patient  laborer.  And  surely 
it  was  this  emotion  that  inspired  the  artist 


Page  Twenty-Nine 


Waida 


'THE  ROCKS 


Page  Thirty 


Waida 


MOORED  IN  THE  SHADOWS 


Page  Thirty-One 


BEfcUW 


A  twelve-hundred-mark  dinner  at  a  certain  emporium  designed 

a  la  Picasso  is  always  the  cure  prescribed  by  the  Herr  Doktor 

of  the  wealthy  for  a  severe  case  of  boredomitis 


Page   Thirty-Tzvo 


A  Cantrip  of  Critics 

Mencken  and  Sherman  find  they  have  been  arguing  for  the  same  things 

By  Burton  Rascoe 


ON  looking  over  my  files  for  the  past  five  years 
I  find  that  that  I  have  written  to  date  some  twenty 
thousand  words  about  H.  L.  Mencken.  Still,  the 
publication  of  his  new  book,  Prejudices:  Third  Series, 
makes  me  sensible  of  the  fact  that  much  about  him  re- 
mains to  be  said.  This  is  proof  enough  that,  at  least, 
so  far  as  I  am  concerned,  Mr.  Mencken  is  a  lively  topic 
for  discussion.  But  to  my  coevals  he  is  a  topic  equally 
lively ;  no  one,  it  seems,  may 
write  of  criticism  in  this  country 
today  without  both  general  and 
particular  reference  to  Mr. 
Mencken.  He  is  quite  as  much 
on  the  minds  of  the  professorial 
and  conservative  writers  as  on 
the  minds  of  the  young  and  radi- 
cal. He  has  put  his  stamp  in- 
delibly, for  good  or  ill,  upon 
the  literature  of  his  period  in 
America. 

A  curious  phenomenon  may  be 
observed  in  the  attitudes  assumed 
toward  Mr.  Mencken  five  years 
ago  and  now.  Five  years  ago  he 
was  a  demigod  to  the  writing 
youngsters  and  the  Evil  One 
incarnate  to  the  others ;  he  was 
exalted  by  the  former  in  direct 
proportion  to  the  denigration  he 
suffered  at  the  hands  of  the  latter. 
Now,  however,  no  one  between 
the  ages  of  thirty-five  and  ninety 
writes  of  him  without  an  ap- 
praisal in  which  admiration  is 
commingled,  and  no  one  between 
the  ages  of  eighteen  and  thirty- 
five  writes  of  him  without  an 
eye  to   his   shortcomings.     This 

means  merely  that  both  camps  have  come  to  accept  him, 
the  one  as  a  force  more  vital  than  was  apparent  five 
years  ago,  the  other  as  a  matter  of  course.  The  oldsters 
want  to  argue  about  him  as  a  personality,  while  the 
youngsters,  long  ago  having  got  over  their  concern  with 
that,  want  to  decide  as  precisely  as  possible  just  what 
he  has  contributed  to  American  literature.  In  fine,  the 
oldsters  still  think  of  him  as  "news,"  while  the  youngsters 
think  of  him  with  a  retrospective  air,  as  "editorial" 
matter. 

Biographically,  it  may  be  said  of  him  that  Mr.  Mencken 
is  a  Baltimore  newspaper  man  who  was  so  talented  in  his 
profession  that  while  yet  under  twenty-five  he  was  manag- 
ing editor  of  a  great  metropolitan  daily;  that  books  and 
music,  biology  and  general  ideas,  however,  were  his  heart 
interest ;  that  he  turned  critic  and  man  of  letters  ;  and  that 
so  energetic,  provocative,  brilliant  and  unusual  a  person- 
ality did  he  reveal  in  his  writings  that  he  came  shortly  to 
command  the  attention  of  a  considerable,  intelligent,  and 
interested  audience.  When  he  entered  the  field  of  criticism, 
there  had  been  but  two  men  in  America  since  the  days  of 
Edgar  Allan  Poe  and  the  Concord  group  who  had  got 
enough  life  into  their  critical  writings  to  interest  anyone 
to  any  disputative  extent  in  what  they  had  to  say — James 
Huneker  and  Percival  Pollard.  There  had  been  scholars, 
like  W.   C.    Brownell,   Irving   Babbitt,   and   Paul   Elmer 


H.   L.   MENCKEN 


More,  but  so  remote  from  contemporary  life  were  their 
speculations  that  they  did  not  succeed  in  interesting  or 
influencing  even  their  fellow  scholars  to  any  perceptible 

extent. 

"DOLLARD  had  been  a  wide-awake  intelligence,  roused 
-*-  to  artistic  enthusiasm  by  contact  with  the  leaders  of 
the  Ueberbrettl'  movement  in  Germany  and  had  brought 
that  enthusiasm  and  intelligence 
to  bear  upon  the  meritorious 
work  that  was  being  done  by 
Americans.  He  spotted  Stephen 
Crane,  Ambrose  Bierce,  Edgar 
Saltus,  James  Branch  Cabell, 
David  Graham  Phillips,  Harold 
Frederic,  Frank  Norris  and 
Theodore  Dreiser  and  began 
trumpeting  their  virtues.  Un- 
fortunately he  was  in  a  wilder- 
ness, the  men  he  admired  were 
pioneers,  and  his  instrument  was 
a  weak  one,  a  New  York  scandal 
sheet  with  a  small  and  unimpor- 
tant circulation. 

Huneker  came  back  from  Eu- 
rope bringing  ivory,  apes  and 
peacocks  from  the  capitals  of 
culture  and  exploited  them  with 
so  persuasive  a  ballyhoo  that  al- 
most single-handed  he  changed 
American  literary  and  artistic  in- 
terests from  a  narrow  and  iso- 
lated provincialism  into  some 
semblance  of  cosmopolitanism. 
Huneker  was  a  sort  of  Burton 
Holmes  of  the  beaux  arts  famil- 
iarizing Americans  at  second- 
hand with  the  cultural  landscape 
of  the  Continent.  There  was  about  him  an  ineffable  qual- 
ity, peculiarly  American  for  all  his  exotic  interests,  which 
captivated  the  imaginations  of  his  readers,  communicated 
his  own  enthusiasm,  and  led  them  to  investigate  the  con- 
temporary art  and  literature  of  Europe  for  themselves. 
That  American  flavor  to  Huneker's  writings  was  Bar- 
numesque  and  extravagant ;  it  was  in  line  with  the  spirit 
which  gave  us  modern  advertising  methods  and  publicity ; 
it  was  gossip  and  personalia  more  often  than  criticism ; 
but  it  was,  finally  and  gloriously,  alive.  What  our  dry 
and  complaisant  critics  before  him  had  failed  to  do,  that 
is,  stimulate  a  desire  for  knowledge  and  increase  the 
native  range  of  aesthetic  satisfactions,  Huneker  did  with 
a  brilliant  stroke  of  pure  journalism.  He  was  hated  and 
execrated ;  he  was  denounced  as  an  immoral  and  danger- 
ous influence ;  he  was  sneered  at  or  ignored — but  only  by 
the  academicians  intent  upon  preserving  the  tight,  self- 
satisfied,  English  Puritan  tradition  ot  what  they  termed, 
from  Matthew  Arnold,  sweetness  and  light,  but  which, 
on  the  contrary,  was  neither  sweet  nor  light  but  sour,  dry 
and  heavy. 

Meanwhile,  the  alert  and  eager  young  minds  of  the 
country  were  acquiring-  from  Huneker  a  vast  and  riotous 
aesthetic  enthusiasm.  He  had  jangled  fascinating  curiosi- 
ties before  their  eyes — Nietzsche,  dAnnunzio,  Stendhal, 
Shaw,   Strindberg,  Dostoievsky,  Gauguin,  Cezanne,  Ma- 


s' ketched 

by 

Djitna  Barnes 


Page  Thirty-Five 


SuADQWlAND 


tisse,  Hauptmann,  Sudermann,  Schnitzler,  Artzibashef, 
Stirner,  France,  Gourmont,  Stravinsky,  Shoenberg, 
Franck,  Wedekind,  Dehmel,  Stuck,  Ibsen,  Conrad,  a  riot 
of  exotics— and  had  fascinated  them.  Curiosity,  such  as 
it  was,  about  American  cultural  traditions,  the  Concord 
sages  and  Transcendentalists,  Hawthorne,  Emerson, 
Holmes,  Lowell,  Thoreau,  and  coming  down  to  later 
dates,  Mark  Twain,  Artemus  Ward,  W.  D.  Howells, 
Edith  Wharton,  Henry  James,  were  all  forgotten  or  neg- 
lected, not  because  they  were  not  intrinsically  interesting, 
meritorious  and  culturally  valuable,  but  because  the  critics 
of  the  country  had  been  so  colorless  and  lacking  in  per- 
sonality that  they  could  not  arouse  interest  in  these 
native  authors,  while  Huneker,  so  great  was  his  power 
to  communicate  enthusiasm  and  so  dynamic  was  his  per- 
sonality, could  arouse  interest  in  almost  anything. 

Huneker  was  to  a  large  extent 
responsible,  I  think,  for  the  foreign 
influences  now  discernible  in  Ameri- 
can literature — the  Russian  influence 
in  our  novels  and  short  stories,  the 
Scandinavian  influence  in  our 
drama,  the  French  influence  in  our 
poetry  and  criticism.  It  may  be 
that  he  merely  gave  self-assurance 
to  alien  artists  among  us  and  en- 
abled them  to  express,  in  the  Ameri- 
can milieu,  the  personal  reactions  to 
life  of  sensibilities  inherited  from 
fathers  and  mothers  who  lived  un- 
der the  knout  in  Russia,  in  the  tene- 
ments of  Naples,  on  the  bleak  rocks 
of  Norway,  among  the  peat  bogs  of 
Ireland,  in  fear  of  the  Prussian 
junker,  or  in  servile  poverty  in 
France ;  but  whatever  the  compo- 
nents of  those  sensibilities,  how  or 
by  what  suffering  they  were  ac- 
quired, they  were  sensibilities  and 
not  apathies  and  they  did  and  do 
express  human  reactions  of  a  sig- 
nificant and  vital  kind  to  the  welter 
of  American  life.  Therein  do  they 
attain  to  the  dignity  of  art,  and  they 
are  artistic  and  aesthetically  precious 
to  the  extent  that  they  reflect  the 
aspirations  and  wonderment  of 
mankind  in  an  artistic  or  aesthetic 
fashion. 


TWO  SONGS 

By  Bertha  Skener 
The  Moon 

I  want  the  Moon 

That  I  may  crush  it  to  dust 

To  free  myself  from  the  tyranny 

Of   its   incompassionate   stare 

That  exerts  hypnotism 

Even  on  the  courtezan  Ocean! 


To  Diego 

You  loved  me  with  a  love 
I  cannot   understand, 
Because  you  say  I  killed  it, 


I  love  you  with  a  love 
You  cannot  understand, 
Because  I  cannot  kill  it. 


problems,   too   reticent   and   diffident  or  too   deficient  in 
vitality  to  give  battle  in  the  field  of  ideas. 

Mencken,  on  the  other  hand,  was  first  and  foremost 
interested  in  the  major  problems  of  human  life.  He  was  a 
student  of  theology,  of  science,  and  of  economics.  He 
had  read  Darwin  and  Huxley,  the  Christian  apologists  and 
Nietzsche,  medical  journals  and  the  Congressional  record. 
He  had  been  a  newspaper  reporter,  covering  police  courts, 
fires,  murders,  divorces,  political  campaigns  and  ecclesi- 
astical inaugurations.  He  had  studied  Marx  enough  to 
refute  his  theories,  brilliantly,  categorically  and  in  detail, 
during  a  spirited  controversy  with  Robert  Rives  Lamonte. 
He  had,  in  fine,  learned  a  great  deal  about  life  as  it  is 
lived  in  this  country  before  he  ever  took  that  knowledge 
over  into  the  work  of  criticism. 

Mencken  was  never  much  of  an  aesthete,  never  par- 
ticularly interested  in  the  subtleties 
of  form  and  expression ;  but,  so  fine 
was  his  intuitive  perceptions  from 
the  very  first  that  he  seldom  failed 
to  spot  and  acclaim  a  significant  or 
important  writer  when  that  writer 
appeared  upon  the  scene.  He  did 
not  have  the  faculty  of  minute 
critical  appraisal,  of  tracing  aims 
and  effects ;  but  he  had  a  ready 
sense  of  artistic  worth  even  in  the 
work  of  men  whose  full  signficance 
he  could  not  comprehend  or  articu- 
late. He  knew,  moreover,  when  a 
writer  had  been  honest  and  truthful 
with  himself  and  had  put  himself 
into  his  work  without  fear  or  com- 
promise ;  he  knew,  for  instance, 
that  Theodore  Dreiser  was  a  sig- 
nificant and  important  artist  en- 
deavoring in  an  impressive  and  la- 
borious fashion  to  articulate  and 
record  something  of  the  spirit  and 
life  of  America  in  the  great  cities 
of  a  material  era  of  industrial  com- 
petition. He  knew  these  things  be- 
cause he  was  himself,  first  and  fore- 
most, sincere,  courageous,  candid 
and  without  compromise  so  far  as 
his  convictions  were  concerned. 


F 


A/TEN  CKEN  came  upon  the  field 

■*■'-*-  equipped  in  a  manner  that  set  him  apart  from  either 
Pollard  or  Huneker,  both  of  whom  had  been  his  immediate 
preceptors  and  from  both  of  whom  he  had  learned  much. 
For  one  thing,  he  was  closer  to  actual,  average  life  than 
either  of  them.  For  all  his  diverse  and  multiple  interests 
in  cuisine  and  Cezanne,  beer  and  Brahms,  aeroplanes  and 
Artzibashef,  knick-knacks  and  Nietzsche,  Wiener-wursts 
and  Widor,  Huneker  was  a  romantic  dilettante,  a  dabbler, 
a  taster,  a  dreamer,  living  an  operetta  life  of  the  imagina- 
tion among  books,  pictures,  music,  concert  halls  and  beer 
gardens,  seldom  catching  even  a  glimpse  of  what  was 
going  on  in  the  real  world  of  democratic  government  at 
Washington,  business  enterprise  and  slum  poverty  in  the 
city,  birth,  love,  and  death  in  developing  communities  of 
this  vast,  new  country. 

Huneker  was  only  vaguely  interested  in  sociological, 
political  or  general  ideas,  or,  indeed,  in  life  at  all  except 
as  it  is  expressed  in  the  arts,  particularly  in  the  arts  of 
other  countries.  Pollard  was  more  cognizant  of  the 
relation  between  the  literature  of  his  country  and  period 
to  the  life  of  that  country  and  period;  but  he,  too,  was  a 
bit  precious,  a  bit  too  much  pre-occupied  with  artistic 


ROM  Pollard,  Mencken  learned 
the  trick  of  directing  atten- 
tion to  himself  by  the  persistent 
exploitation  of  the  name  of  another 
writer.  Pollard  had  used  Ambrose  Bierce.  He  took  an 
underdog  even  more  the  butt  of  abuse  and  ridicule, 
Theodore  Dreiser,  and  fought  his  battles  for  him,  tooth 
and  nail,  with  all  the  resources  of  his  brilliant  vocabulary, 
his  valorous  spirit,  his  faith  in  himself.  He  began  by 
a  brilliant  species  of  iconoclasm  which  consisted  in  knock- 
ing off  the  heads  of  as  many  plaster  saints  as  he  could 
find  about  him.  Every  one  likes  to  see  a  fight,  and 
Mencken  was  a  good  fighter ;  and  so  he  drew,  bit  by  bit, 
an  applauding  audience. 

Beneath  the  surface  of  his  literary  criticism,  it  soon 
became  apparent  that  he  was  interested  primarily  in 
general  ideas,  in  political,  social  and  philosophical  theory, 
and  that  he  used  books  as  only  a  point  of  departure  in 
impressing  upon  his  readers  his  own  convictions,  giving 
them  his  personal  reactions — in  fine,  that  he  was  making 
literature  of  criticism  by  the  process  of  "erecting  his 
personal  impressions  into  laws,"  which,  says  Remy  de 
Gourmont,  is  the  aim  of  every  critic,  if  he  is  sincere. 

It  turns  out,  of  course,  that  Mencken's  two  greatest 
qualities  are  that  of  a  socio-political  irritant  and  that  of  a 
{Continued  on  page  78) 


Page  Thirty -Six 


Numa  Patlagean  is  a  Russian 
Jew.  His  father  was  massacred 
when  Numa  was  about  sixteen; 
soon  after  this  the  boy  went  to 
Switzerland  and  later  to  France. 
He  is  practically  self-taught; 
in  France  he  is  called  the 
"Sculptor  of  the  Soul."  He  lias 
an  extraordinary  dynamic  vital- 
ity, and  is  a  creator  in  the  full 
sense  of  the  word 


Hans  tyyss  is  the  foremost 
wood-carver  of  Switzerland,  and 
has  exhibited  thruout  the  Con- 
tinent, as  well  as  in  England 
and  the  United  States.  He  not 
only  has  given  us  an  entirely 
new  conception  of  wood-carving, 
but  his  paintings  also  show  a 
striking  note  of  originality 


Courtesy  of  Mrs.  Albert  Sterner 

DEESSE 
By  Numa  Patlagean 


BATTLE 
By  Hans  Wyss 


Primitive  Art  by  Modernists 


THE  CHILD 
By  William  Zorach 


ASIATIC  TYPE 
By  Robert  Laurent 


MAN  AND  HIS  ANIMAL 
By  Hans  Wyss 


Robert  Laurent  studied  painting  under  Maurice 
Sterne  and  also  with  the  late  Hamilton  Easter 
Field.  More  recently  he  turned  to  wood-carv- 
ing, in  which  he  shows  a  wonderful  technique 
and    imaginative    quality 

William  Zorach,  one  of  the  most  active   menu 

bers    of    the    Independent    Society    of    Artists, 

shows   an   almost   primitive   conception   in  his 

wood-carving 


Page   Thirty-Seven 


The  Hamlet  of  a  Generation 

John  Barrymore  plays  the  Dane  brilliantly  tho  too  sanely 
By  Kenneth  Macgowan 


SOME  generations  ago  critics  and  ladies'  reading 
circles  debated:  "Was  Hamlet  mad?"  In  a  few 
generations  more  they  may  get  round  to  the  ques- 
tion:  "Was  Hamlet  a  perfect  gentleman?''  If  they  do, 
it  will  be  a  very,  very  hopeful  day  indeed. 

For  that  second  question  was  the  only  shadow  cast 
across  the  most  brilliant  and  exciting  evening  that  the 
American  theater  of  the  twentieth  century  has  ever 
known,  the  evening  when  John  Barrymore,  shepherded 
and  caparisoned  by  Arthur  Hopkins  and  Robert  Edmond 
Jones,  appeared  for  the  first  time  in  the  greatest  part  in 
the  English 
drama. 

The  only  un- 
kind thing  that 
can  be  said  of 
America's  new- 
est Hamlet — 
and  except, 
perhaps,  for  the 
Hamlet  of 
Moissi,  the  Ger- 
man actor,  it 
must  be  the 
finest  since 
Booth's — is  that 
John  Barry- 
more forgot  all 
the  crazy,  in- 
decent, "wild 
and  whirling 
words"  with 
which  the 
Prince  of  Den- 
mark strews  his 
speech.  Barry- 
more is  so  sure 
Hamlet  was 
sane  that,  in 
trying  to  con- 
vince us,  he 
seems  quite  as 
sure  as  Forbes- 
Robertson,  E. 
H.  Sothern  and 
Walter  Hamp- 
den that  here 
was  a  thought- 
ful, charming 
gentleman  kept 
from  the  natu- 
ral revenge  of 
his  time  by  the 
literary  man's 
indisposition  to 
action.  Accord- 
ingly we  are  ex- 
pected to  believe 
that  a  man  who 
has  just  heard 
the  truth  about 
a  father's 
murder  and  a 
mother's       in-  Rosalind   Fuller  as 


fidelity  will  take  out  a  notebook  in  perfect  good  sense 
to  write  down  the  fact  that  "one  may  smile,  and  smile, 
and  be  a  villain."  We  are  expected  to  believe  that  such 
a  stricken  man — again  in  perfect  good  sense — will 
copper  the  deal  by  cautiously  adding :  "At  least  I'm 
sure  it  may  be  so  in  Denmark."  We  are  asked  to  be- 
lieve that  this  philosopher  as  well  as  outraged  son  will 
observe — perfectly,  politely  and  sensibly — that  "there's 
ne'er  a  villain  dwelling  in  all  Denmark,  but  he's  an 
arrant  knave."  And  so  on,  thru  frisky  gibberings  at  his 
father's  ghost  "in  the  cellarage"  clear  on  to  the  moment 

when  the  pathos 
of  Ophelia's 
death  seems  to 
clear  his  mind 
for  his  own 
tragic  end. 

We  are  asked 
to  believe  in  a 
well-bred  as 
well  as  a  sensi- 
tive Hamlet,  a 
perfectly  sane 
philosopher  as 
well  as  a  de- 
voted son  who 
meets  news  that 
should  shake 
the  mind  of  a 
far  sturdier 
man.  And  we 
do  believe — for 
an  evening,  any- 
way —  such  is 
the  reasoned 
beauty  of 
Barry  more's 
performance. 
We  do  not  de- 
mand a  gentle- 
man  who  is 
also,  now  and 
then,  a  neurotic 
on  the  edge  of 
madness.  We 
are  content  with 
a  magnificent 
grace,  a  voice 
of  most  lovely 
quality,  a 
splendid  sense 
of  expressive 
and  picturesque 
movemen  t — 
everything,  in 
fact,  that  the 
perfect  Hamlet 
should  have  ex- 
cept the  tortur- 
ing threat  of 
madness  which 
hangs  over  him 
almost  till  the 
'Ophelia"  end. 


Francis  Bruguiere 


Page  Thirty-Eight 


SuiADOWL/XND 


Hopkins  has 
never  cast  a  play 
so  well  as  this 
Hamlet,  Jones  has 
seldom  brought 
such  an  appropri- 
ate beauty  to  cos- 
tumes, lights  and 
background.  The 
one  major  mistake 
of  Hopkins  is  the 
will  o'  the  wisp 
ghost  which  he  sets 
nickering  on  the 
backdrop  by  means 
of  a  magic  lantern. 
Otherwise  the  per- 
formance is  in  al- 
most every  way 
unusually  good. 
The  cast  is  always 
adequate,  mostly 
excellent,  and  in 
the  case  of  Rosa- 
lind Fuller  excep- 
t  i  o  n  a  1  .  Her 
Ophelia  is  mad 
with  the  pitiful  in- 
decency of  so 
many  maniacs  and 
o  f  Shakespeare's 
words. 

Robert    Edmond 

Jones's    share    goes         Francis  Bruguiere 

farther,  I  am  sure, 
than     the     setting, 

the  atmosphere  of  light,  and  the  clothes  of  the  people, 
but  these  are  fine  enough.  Again,  as  in  Richard  III, 
there  is  one  permanent  and  suggestive  setting  to  bring 
us  back  to  the  frank  theatrical  pretense  of  Shakespeare's 
own  stage,  to  make  waits  as  unnecessary  as  they  were 
at  the  Globe,  and  to  provide  an  atmosphere  of  the  time 
and  the  deeds.  Lights  and  costumes,  patterning  the 
foreground  of  this  great  hall,  complete  the  image  of  a 
remarkable  Hamlet. 

REMARKABLE,  too,  in  its  own  way,  is  the  second 
event  of  the  month  in  the  New  York  theater.  This 
is  Merton  of  the  Movies.  Fine  satire,  this.  Harry 
Leon  Wilson  supplied  the  essential  materials  when  he 
wrote  the  story,  but  to  George  S.  Kaufman  and  Marc 
Connelly  belongs  unstinted  credit  for  both  the  fidelity 
and  the  effectiveness  with  which  they  have  given  the 
story  theatrical  life.  Acting,  too,  plays  its  part.  There 
is  considerable  exaggeration  at  various  points  in  the  per- 
formance— sometimes  it  is  alluring  exaggeration,  as  with 
Florence  Nash,  and  sometimes  banal  and  annoying — but 
Glenn  Hunter  plays  the  movie-mad  Merton  with  a 
fidelity  to  the  spirit  of  the  character  which  is  uncommonly 
fine.  It  is,  therefore,  capable  of  creating  pathos  as 
well  as  fun. 

The  plot  of  Merton  of  the  Movies  suggests  that  grand, 
classic  gibe  of  Mack  Sennett,  A  Small-Town  Idol.  (Per- 
haps A  Small-Town  Idol  suggested  Merton  of  the 
Movies.)  A  fellow  as  enamored  with  the  screen  as  are 
fifty  per  cent  of  the  population  of  the  United  States  sets 
out  to  be  an  actor.  His  playing  is  excruciatingly  bad. 
When  his  director  throws  the  picture  on  the  screen,  it 
is  also  discovered  to  be — as  the  director  suspected  it 
would  be — excruciatingly  funny.  The  boy  settles  down 
to  a  fame  which  he  never  sought,  and  which  for  one 
moment  almost  breaks  his  heart.  But,  after  all,  he  says, 
this  is  satire.    And  satire  is  art.    It  can  be  when  Wilson, 


John   Barrymore   as   "Hamlet,"   and    Sidney   Mather   as    "Laertes" 


Kaufman  and  Connelly  officiate.  Like  Charlie  Chaplin, 
they  know  something  about  truth  and  tragedy  that  Sen- 
nett has  desperately  refused  to  suspect. 

OOMEONE  else  is  discovering  that  life  is  not  all 
^  laughter.  Or  rather  we  are  discovering  that  this 
playwright  found  it  out  some  years  ago.  A  good  while 
back  the  man  who  wrote  the  observant  and  whimsical 
Mr.  Pirn  Passes  By  turned  out  two  plays  called  The 
Lucky  One  and  The  Romantic  Age. 

The  Romantic  Age  is  the  humorist  Milne  gently 
chastening  the  romantic  Milne.  It  shows  us  a  maiden 
with  a  moonlit  and  knight-inhabited  soul  who  finally 
decides  that  knights  have  to  wear  knickers  once  in  a 
while  and  work  in  the  stock  exchange.  Pretty  romance, 
pretty  humor,  a  bit  silly,  a  bit  thin,  but  graceful. 

The  Lucky  One,  on  the  other  hand — a  still  earlier 
work — is  a  desperately  serious  picture  of  two  brothers, 
a  study  in  character  out  of  which  comes  ten  minutes  of 
strong,  fine  drama.  Its  first  act  is  a  chatter  about  how 
charming  the  younger  brother  is.  Its  second  act  is  a 
doom  hanging  over  the  elder.  The  third  brings  the  two 
into  conflict,  talking  out  their  rivalry.  You  cannot  be 
expected  to  guess  how  big  such  a  talk  can  be. 

The  Lucky  One  is  acted  by  the  Theatre  Guild — and 
not  too  well.  The  elder  brother  is  admirably  played  by 
Percy  Waran,  but  the  more  important  "lucky  one,"  the 
charmer,  is  hashed  about  pretty  badly  by  Dennis  King. 
This  younger  brother  should  be  played,  of  course,  by 
the  actor  who  appears  so  delightfully  in  The  Romantic 
Age,  Leslie  Howard.  But  what  injustice  it  would  be 
to  deprive  him  of  playing  opposite  the  adorably  deft 
romancer,  Margalo  Gillmore,  and  condemn  him  to  watch 
the  commonplace  efforts  of  Violet  Heming,  the  Guild's 
heroine!  Instead,  let  us  recast  The  Lucky  One  with 
Geoffrey  Kerr,  who  now  wastes  his  time  in  East  of  Suez. 
{Continued  on  page  77) 


Page  Thirty-Nine 


We  Jtave  all  met  the 
"theater  prattler" — 
the  person  who  chat- 
ters of  bootleggers, 
toddle-steps  and  scan- 
dal-in-high-life, while 
on  the  stage  the 
beautiful  heroine 
dares  the  district  at- 
torney to  convict  her 
of  the  cr-r-r-rime! 
These  "prattlers"  are 
the  very  neediest  of 
our  cases.  They  sure- 
ly need  a  theater  of 
their  own.  Will  some 
kind-hearted  philan- 
thropist oblige? 


Pity  the  poor  landlord!  His  life  is  made  a 
burden  by  his  unfeeling  tenants,  who  expect 
him  to  keep  twenty  apartment-houses  in  perfect 
running-order.  He  surely  needs  the  protection 
of  the  State.  Our  Legislators  should  pass  a 
bill  allotting  only  one  complaint  per  month 
to  every  lessee 


Our  Neediest  Cases 


By 

August  Henkel 


°fjg 


Barbara  is  the  seventeen-year-old 
daughter  of  a  mere  millionaire.  She 
has  everything  and  is  tired  of  every- 
thing. Life  is  a  terrific  bore.  We 
earnestly  pray  that  some  inventive 
mind  will  soon  produce  a  brand-new 
diversion  for  our  distressed  debutante 


The  artist  has  caught  our  college  boys  in  a 
playful  mood,  but  they  have  their  dark 
working  hours.  The  unfeeling  Faculty  ex- 
pects them  to  spend  at  least  six  hours  a 
week  in  the  classroom,  and  to  double  that 
time  in  outside  study.  It  is  a  preposterous 
demand!  We  hope  some  wizard  of  science 
will  aid  these  oppressed  boys  by  inventing 
an  Educational  Serum  that  can  be  injected 
directly  into  the  brain,  thereby  reducing  the 
time  spent  in  acquiring  knowledge  to  a  mini- 
mum of  three  minutes  a  day 


Page  Forty 


t 


IP? 


The  chaperon  has  long  been  out  of  date,  but  the  species 
is  not  yet  extinct.  Above,  behold  three  of  our  finest 
museum  pieces.  They  are  bleak,  unhappy,  forlorn.  They 
need  a  return  of  the  good  old  days   of  the   'Eighties 


This  is  Grandma 
—  1923  model. 
She  is  a  travesty 
on  the  beloved 
Grandma  of  our 
childhood,  whose 
calico  apron  had 
peppermint-  sticks 
in  one  pocket  and 
ginger  cookies  in 
the  other.  We 
need  a  campaign 
to  popularize  the 
old-f  ashioned 
Grandma,  so  that 
our  youngsters 
may  not  be  de- 
prived of  one  of 
childhood's  hap- 
piest memories 


Below  is  a  member  of  a 
local  Board  of  Censors. 
His  eye  has  just  caught 
the  line:  "Lily's  room 
was  filled  with  undressed 
lumber,"  and  he  is  for- 
bidding daughter  Bessie 
to  read  the  book.  Our 
censors  need  some  real 
work  to  do;  we  beg  the 
publishers   to   provide    it 


Galahad  Brummel,  screen  idol,  is  so  depressed 
that  he  cannot  start  work  on  his  new  picture, 
"The  Mysterious  Prince  Charming" — all  because 
his  dressing-room  at  the  Superba  Studio  was 
furnished  in  rosewood  instead  of  ebony!  It  is 
unfair  to  his  millions  of  feminine  fans  to  delay 
this  picture.  A  petition  needs  to  be  circulated, 
urging  the  producers  to  make  ivhatever  changes 
his  Brummelship  desires 


Page  Forty-One 


In  "The  Seventh 
Heaven"  Helen  Men- 
ken transports  her  au- 
diences to  that  region. 
A  young  actress  who 
could  triumph  over 
such  bad  plays  as  "The 
Triumph  of  X"  and 
"The  Mad  Dog"  was 
bound,  as  she  has,  to 
attain    the   front   rank 

Who  would  have 
thought  that  Jeanne 
Eagels  could  have 
risen  to  such  heights 
of  passion  and  scorn 
as  she  does  in  that 
'.mordant  and  brilliant 
play,  "Rain,"  unless 
they  had  recognized 
the  spark  of  genius, 
which  could  not  be 
concealed  even  in  such 
a  wearisome  play  as 
"The     Nighty  Watch" 


White    Studios 


Pach 


Curtain  People  of  Importance 


Peer  Gynt  is  a  character  as  im- 
mortal as  Hamlet,  and  just  as 
difficult  to  play.  The  errant 
hero  of  Ibsen's  greatest  drama 
could  find  no  better  imperson- 
ator than  young  Joseph  Schild- 
kraut,  who  was  taken  from  the 
Yiddish  Art  Theatre,  where  he 
was  a  shining  light,  to  play  the 
title  role  in  "Liliom,"  in  which 
he  made  an  unforgettable  im- 
pression 


Muray 


?ulich 


Ernest  Pollock's  remarkable 
drama,  "The  Fool,"  gives  James 
Kirkwood  an  opportunity  of 
playing  a  role  after  his  own 
heart — one  similar  to  the  Christ- 
like character  in  "The  Passing 
of  the  Third  Floor  Back."  He 
is,  in  fact,  the  perfect,  guileless 
fool,  akin  with  Parsifal 


Another  recruit  to  the  Ameri- 
can stage  from  the  Yiddish  Art 
Theatre  is  Jacob  Ben  Ami.  His 
brilliant  work  in  "The  Idle  Inn" 
and  "Samson  and  Delilah"  de- 
monstrated his  abilities  in  wide- 
ly differing  parts,  and  he  has 
noiv  been  entrusted  with  the 
weird  and  romantic  role  of 
Johannes  Kreisler,  which  is  a 
positive  lour  de  force 


Muray 


Page  Forty-Two 


The  Black  Dress 

Efy  Jean  Moura* 


Ti 
! 


"^EN  ells  of  cloth,  your  Reverence!"  exclaimed 
the  merchant  at  the  back  of  his  workshop.  "Why, 
that  is  enough,  I  should  think,  to  make  new 
frocks  for  all  your  holy  brotherhood !" 

Many  were  the  conversations  in  the  shop  of  Master 
Irribaritz,  the  Bayonne  draper.  They  talked  there  about 
the  personages  and  the  events  of  the  day — of  King 
Edward  I  of  England,  to  whom  Guyenne  then  belonged, 
and  especially  of  the  Governor,  Loup-Bergouh-de- 
Bordeu,  who  had  just  proclaimed  his  terrible  sumptuary 
laws,  to  the  consternation  of  the  too  self-indulgent 
bourgeois. 

Bayonne  was  certainly  a  very  agreeable  city  in  the 
times  when  love  inflamed  all  hearts,  when  the  nobility 
scattered  to  the  winds  their  gold  and  their  precious  stones, 
and  when  the  bourgeois  spent  their  lives  trying  to  look 
and  act  like  the  nobles.  Then  it  was  no  longer  possible 
to  distinguish  the  commoner  from  the  seigneur.  But  such 
confusion  had  to  be  put  a  stop  to.  Strict  edicts  had 
enjoined  each  to  resume  the  clothing  appropriate  to  his 
class,  and  had  restrained  all  excessive  public  manifesta- 
tions of  joy  and  grief. 

"Not  more  than  six  guests  at  a  wedding  feast.  In  the 
good  old  days  we  used  to  bring  young  married  couples 
much  more  by  way  of  luck,"  said  a  notary,  peevishly. 

"No  more  mourners  behind  the  hearse!  How  much 
better  we  used  to  lament  our  dear  departed !"  groaned  a 
judge  who  had  just  lost  his  wife. 

"By  our  Lord,  we  live  in  great  dejection  and  in  a  very 
sorrowful  time !"  sighed  a  third. 

Other  sighs  answered  that  sigh. 

QUIETLY  and  diligently  in  a  darkened  corner,  where 
none  of  the  patrons  could  see  her,  Babette,  the  dra- 
per's wife,  was  working  on  a  voluminous  black  cloth  dress. 
And  this  dress,  which  she  was  so  busily  making  to  wear 
in  mourning  for  her  mother-in-law — this  beautiful  black 
dress  kept  her  in  a  great  state  of  excitement. 

There  was  no  doubt  that  her  mother-in-law  was  going 
to  die.  In  spite  of  the  fact  that  the  doctor  had  prescribed 
some  very  bitter  medicines,  accompanied  by  injections  of 
tobacco-water,  no  relief  was  effected. 

Sometimes  loud  lamentations  came  from  the  top  of 
the  house  and  drowned  out  for  an  instant  the  buzz  of 
conversation  in  the  shop.  Then  Babette  murmured: 
"Poor  Dame  Irribaritz !"  and  thought,  as  she  redoubled 
her  industry,  that  she  must  hurry  more  than  ever  to 
finish  her  mourning  dress. 

For  a  long  time  she  had  dreamed  of  wearing  one  of 
those  beautiful  black  stuffs  which  give  the  pos- 
sessor the  air  of  a  lady  of  quality.     But, 
alas !   the   officials  were   severe.     For 
the  least  infraction  of  their  laws,  , 

for    the    least    little     coquetry 
they  clapped  on  you  some  ex- 
tortionate fine  or  even  im- 
prisoned   you    in   the   big 
red  tower  of  the  Moor- 
ish castle  which  pretty 
Babette    could    readily 
see  from  her  window. 

Black,  as  everyone 
knows,  is  a  noble  color. 
It  was  not  allowable, 
then,  that  a  commoner 
like      Babette      should 


assume  the  airs  and  graces  of  a  grand  lady  by  wearing  the 
clothing  reserved  to  persons  of  rank.  Only  the  death  of 
a  near  relative  permitted  women  of  the  bourgeois  class, 
under  sixty  years  of  age,  to  d<an  for  three  months — not  a 
day  longer — a  rich  mourning  costume.  But  until  now 
all  Babette's  near  relatives  had  enjoyed  robust  health. 

One  by  one  Master  Irribaritz's  patrons  left  the  shop. 
Babette  saw  her  husband  counting  his  gold  ducats.  He 
called  to  her  cheerily : 

"The  good  Lord  protects  our  business.  Look  at  the 
ten  ecus  I  have  taken  in  today." 

Again  the  cries  of  Dame  Irribaritz  filled  the  estab- 
lishment.   Babette  warned  her  husband : 

"Dame  Irribaritz,  your  mother,  suffers  terribly.  Pres- 
ently her  soul  will  ascend  to  Paradise  where  our  Lord 
dwells." 

"Poor  Dame  Irribaritz !  Poor  mother !"  the  merchant 
sighed. 

Then  Babette  went  to  get  her  beautiful  dress. 

"Here,"  she  said,  "is  the  mourning  dress  which  I  am 
making." 

She  spread  it  over  a  high  stool  and  the  draper  admired 
the  richness  of  the  material.  She  called  his  attention  to 
the  aristocratic  shimmer  on  the  puckers  and  the  flaps. 
He  exclaimed  enthusiastically:  "By  the  Lord,  what  a 
beautiful  color!"  She  tried  it  on,  and  then  he  discovered 
that  Babette,  his  wife,  looked  like  a  proud  and  noble 
dame.  Suddenly  the  draper  had  an  idea — and  a  very 
sensible  one. 

"We  must  go  up  and  get  the  jewels  of  Dame  Irribaritz, 
my  mother,"  he  said.  "The  poor  woman — may  God 
bless  her ! — can  have  no  use  for  them  now.  She  will 
be  better  pleased  to  see  them  on  the  arms  and  neck  of 
her  daughter-in-law  than  lying  in  her  big  tapestried  box." 

They  went  up  to  the  chamber  where  Dame  Irribaritz 
slept  in  the  middle  of  her  canopied  bed.  Softly  they  opened 
the  big  box  and  took  out  the  bracelets  and  necklaces. 

Then  Gaspard  Irribaritz  said : 

"Dame  Irribaritz  will  never  put  on  her  black  shawl 
again.  During  the  three  months  of  your  mourning  you 
can  cover  your  shoulders  with  it,  and  the  officials  cannot 
punish  you  or  put  you  in  prison." 

They  went  to  the  great  wardrobe,  notched  like  a 
cathedral,  and  hung  with  clothes.  To  do  her  greater 
honor  at  her  funeral  they  took  out  Dam*  Irribaritz's 
black  shawl.  Then  Babette,  the  diligent  Babette,  hastened 
back  to  her  sewing.  She  thought :  "May  God  pardon 
me !    Suppose  my  dress  isn't  ready  in  time !" 


N 


*Translated   by    William   L.  McPherson. 


O    one    knows — no    one    will    ever 
know — how  many  hours  she  spent 
on    it.      She    worked    with    so    much 
fervor !    She  made  so  many  little 
improvements  !   She  said  to  her- 
self: "To  those  who  haven't 
heard  it  I  will  not,  say  that 
Dame    Irribaritz    is    dead. 
They    will    believe    that 
some  sudden  honor  has 
come  to  us  and  will  see 
a  coat-of-arms  imprint- 
ed onour  draper's  sign." 
At     last,     one     fine 
evening,  the  dress  was 
finished. 
(Cont'd    on    page    72) 

Page  Forty-Three 


Taos 

the 

Brilliant 


The  New  Mexican  town 
whose  picturesqueness 
forms  a  background  for 
Indians,  Mexicans,  and 
that  group  known  as  the 
Taos  Society  of  Artists 

By 

Melville  Johnson 


A  WATER  TROUGH 
Deep  shadows  and  brilliant  sunlight  give  a  realistic  impression  of  a  street  scene, 

by  0.  E.  Berninghaus 


TAOS,  New  Mexico,  the  third  oldest  town  in  the 
United  States,  the  former  home  of  Kit  Carson, 
the  famous  scout  and  Indian  agent,  which  now 
shelters  the  most  heterogeneous  collection  of  human  beings 
ever  brought  together 

under  the  adobe  roofs  HHill^^BBSBHH^HHS^SH 
of  a  small  settlement.  ■ 
Mexicans  jostle  ex- 
Greenwich  Villagers, 
who  in  turn  look  as- 
kance at  "remittance 
men,"  some  paid  by 
their  families,  some 
by  their  wives,  to  stay 
away  from  the  jolly 
land  of  their  birth  and 
give  friends  and  ene- 
mies a  chance  to  for- 
get their  escapades.  In 
front  of  a  one-room 
adobe  hut  a  Mexican 
princess,  dressed  in  a 
solitary  soiled  gar- 
ment, squats  before  a 
fire  cooking  mealie  - 
cakes  for  her  lawful 
husband,  who  at  home 
could  claim  a  title  (his 
family   came   to  visit 


TOWARD  THE  END  OF 

WINTER 
The  valley  looks  desolate, 
but  unexpected  bits  of 
color  in  the  hills  and  the 
vivid  blue  of  a  sky  fleck- 
ed with  clouds  make  this 
painting  by  Walter  Ufer 
effective 


him  once;  from  the  Stage  they  viewed  his  princess,  and 
Taos  knew  them  no  longer).  And  slipping  in  and  out 
of  this  motley  throng  are  the  Pueblo  Indians,  whose 
reservation  lies  two  miles  from  town. 


Page  Forty-Four 


SuADOWLANO 


In  Taos,  all  the  store- 
keepers are  Americans ; 
the  Mexicans  have 
neither  the  inclination 
nor  the  ambition  to  trade. 
One  year,  the  American 
butcher  had  too  much 
ambition — he  decided  to 
run  a  double  business, 
that  of  undertaker  and 
butcher.  His  window 
was  tastefully  decorated 
with  a  coffin  and  above  it 
hung  graceful  festoons 
of  hams.  The  slacken- 
ing in  his  American  trade 
surprised  him  almost  as 
much  as  the  demands  for 
meat  that  hadn't  been 
killed  the  same  day.  He 
had  lived  in  Taos  a  long, 
long  time. 

It  is  here  that  the  Taos 
Society  of  Artists  has  its 
headquarters.  Some 
twenty  years  ago  two 
young  artists — there  is  a 
slight  dispute  as  to  their 
identity — were  traveling 
thru  the  Southwest  in  a 
wagon.  They  came  upon 
Taos,  a  garden  spot,  pro- 
tected by  mountains. 
The  "Blood  of  Christ 
Mountains,"  they  had 
been  named  by  the  Span- 
ish priests.  The  valley, 
the  clear,  vivid  air,  the 
brilliant  sunlight  and  the 

primitive  people,  who  harvested  their  crops  both  by  sun- 
light and  moonlight,  fascinated  the  young  artists.  "Here," 
they  said,  "is  material  for  a  lifetime  of  work."  And 
immediately,  they  turned  their  horses  out  to  graze, 
dragged  their  paints  and  easels  from  the  back  of  their 
wagon,  and  became  the  nucleus  around  which  grew  the 
Taos  Society  of  Artists,  which  now  numbers  among  its 
members  John  Sloan,  Walter  Ufer,  Irving  Couse,  Ernest 
Blumenschein,  Robert  Henri  and  many  others. 

The  Society  has  been  organized  only  a  few  years — to  be 
elected  a  member,  an  artist  must  have  painted  in  Taos 
for  three  seasons — but  already  their  exhibitions  are  in 
great  repute,  and  they  travel  from  one  end  of  the  country 
to  the  other,  so  this  section  of  New  Mexico,  with  its 
exquisite  colors  and  the  Pueblo  Indian  types,  is  becoming 
known  to  art  lovers  everywhere. 

The  Indians,  in  some  respects,  are  excellent  models. 
Why  they  should  be  paid  for  sitting  still  is  rather  a  mys- 
tery to  them  and,  on  the  other  hand,  it  is  just  as  much  of 
a  mystery  to  them  what  all  the  excitement  is  about  when 
they  arrive  to  sit  still  at  four  o'clock  instead  of  ten,  as 
they  were  told  to  do. 

There  are  about  eight  thousand  Pueblo  Indians  in  New 
Mexico  living  on  twenty  reservations.  Twelve  hundred 
are  at  Taos ;  there  they  live  in  two  pueblos,  which  look 
more  or  less  like  enormous  beehives — the  original  apart- 
ment-house models.  Every  year,  on  San  Geronimo  Day, 
they  elect  their  governor,  and  the  rivalry  is  great  between 
the  two  pueblos,  for  the  one  that  can  claim  the  most 
victories  in  the  contests  on  this  day  has  the  privilege  of 
appointing  the  Governor.  His  badge  of  office  is  a  silver- 
headed  cane  which  was  presented  by  President  Lincoln 
when  Congress  confirmed  the  Pueblos'  land  holdings,  as 
defined  in  the  old  Spanish  land  grants  dating  back  as  far 


All  photographs  courtesy  of  Howard  Young  Galleries 

THE  HUNTER 
Even  in  the  depths  of  the  forest  the  air  seems  to  have  a  translucent  quality  and  the  trunks  of 
the  trees  show  warm  undertones  in  this  excellent  example  of  the  Indian  work  of  E.  Irving  Couse 

as  1689.  Each  Pueblo  governor  then  received  a  cane  as 
a  token  of  the  good-will  of  the  Great  Father  at 
Washington. 

So,  the  Pueblo  Indians  have  always  governed  them- 
selves, tried  their  own  cases  and  meted  out  their  own 
punishments.  They  are  a  peaceful  agricultural  race.  The 
influence  of  the  Spanish  is  seen  in  their  religion ;  they 
all  profess  Catholicism,  in  spite  of  the  fact  that  the  new- 
born babes  are  held  up  to  view  the  rising  sun.  This  is 
more  or  less  on  a  par  with  the  meek  way  a  sick  Indian 
will  go  to  the  combination  veterinary  and  doctor  in  town, 
and  then  secretly  visit  his  own  witch  doctor ;  altho,  let 
it  be  stated,  the  witch  doctors,  if  they  fail  to  effect  a 
cure,  no  longer  suddenly  depart  this  life  as  they  did 
formerly. 

Just  now  the  artists  and  writers,  who  have  lived  near 
the  Indians  in  New  Mexico,  are  entering  vigorous  pro- 
test against  the  Bursum  Indian  Bill,  which,  altho  passed 
by  the  Senate  after  being  introduced  by  a  Senator  from 
New  Mexico,  has  gone  back  to  the  Public  Lands  Com- 
mittee for  reconsideration — this  after  it  was  denounced  by 
Senator  Borah  as  one  of  the  boldest  raids  on  Indian  lands 
ever  attempted,  and  had  drawn  a  manifesto  protesting 
against  it  from  all  the  twenty  Indian  reservations.  C. 
Grant  Le  Farge,  Mary  Austin,  Carl  Sandburg,  Stewart 
Edward  White  and  William  Allen  White  are  only  a  few 
of  the  writers  and  artists  working  against  the  Bill.  Nat- 
urally, the  Taos  Society  protested  en  masse.  Lo,  the  poor 
Indian,  he  always  needs  protection,  ever  since  one  chief 
sold  New  York  for  six  quarts  of  whiskey  and  twenty-four 
dollars.  But,  as  this  chief's  great-great-granddaughter, 
when  viewing  the  city  from  the  top  of  a  sky-scraper, 
asked,  "Why  the  twenty-four  dollars?" 
{Continued  on  page  71) 


Page  Forty-Five 


Camera  study  of  Doris  Humphrey  by  Hori 


THE  SCARF  DANCE 


Page  Forty-Six 


D.  Duckert,  Copenhagen 


TWILIGHT  IN  THE  OLD  STREET 


"Twilight  in  the  Old  Street"  is  one  of  the 
finest  of  a  number  of  photographs  from  Den- 
mark, brought  to  this  country  under  bond, 
and  entered  as  the  Copenhagen  group  in  the 
exhibition  of  the  Pictorial  Photographers  of 
America,held  at  the  Art  Center  in  New  York 
recently.  The  entries  in  the  Copenhagen  ex- 
hibit showed  a  proficiency  in  technique 
that  is  reached  by  few  of  our  photographers 


Page  Forty-Seven 


A 

Mid'Season 
Musical 
Review 


Amusical  monarch  returns 

to  his  realm.  Big  luminaries 

of  a  stellar  galaxy  and  some 

lesser  lights 


Jerome  Hart 


IN  this  day  of  shattered  ikons  and  tumbling  thrones, 
Ignace  the  Great  has  returned  to  resume  his  scepter 
and  round  out  his  glorious  reign.  The  premier  is 
dead :  long  live  the  king !  And  indeed  it  was  with  the 
dignity  of  a  monarch  that  Paderewski  received  the 
acclamations  of  his  devoted  subjects  who,  in  Carnegie 
Hall,  rose  to  greet  his  return  to  them  after  an  inter- 
regnum of  five  years.  If  in  the  minds  of  any  who  were 
present  on  that  memorable  occasion  there  had  lodged 
a  doubt  whether  the  old  sway  could  be  resumed  and  the 
old  potency  revived,  that  doubt  must  have  vanished  in  the 
splendor  of  what  followed.  For  Paderewski  played  as 
no  one  else  in  the  world  can  play  today. 

His  program  was  a  challenge.  Beginning  with 
Mendelssohn's  Variations  Serieuses,  it  embraced  the 
Schumann  Fantasia,  the  Appassionata  Sonata,  a  Chopin 
group,  and  three  of  the  major  compositions  of  Liszt 
(including  the  superb  Polonaise  in  E)  :  it  explored  the 
full  range  of  romantic  piano  literature.  And  the  marvel 
of  it  was  this :  not  one  of  these  master  works  but  is 
known  by  heart  to  every  concert-goer  and  student  of 
music ;  yet  it  was  as  tho  one  heard  and  understood  for 


Miss  Lucrezia  Bori 
as  Violetta  Valery 
in  La  Traviata.  This 
exquisite  young 
artiste  has  scored 
three  remarkable 
successes  this  sea- 
son at  the  Metro- 
politan Opera,  in- 
cluding the  fore- 
mentioned  role, 
Juliet,  and  Fiora  in 
L'Amore  dei  TreRe 


.Mishkin 

the  first  time  compositions  which  have  come  to  be  re- 
garded almost  as  platitudes  from  anyone  else.  It  was 
an  eclair cissement,  a  revelation. 

For  there  is  a  new  quality  in  Paderewski's  playing, 
something  inexpressibly  pregnant  and  profound,  a  sublime 
humanity  that  comes  with  the  fulness  of  a  noble  life  and 
the  burden  of  those  epic  years  as  head  of  the  Polish 
state.  It  is  this  quality  that  makes  his  utterance  not 
merely  music,  but  music  as  a  medium  for  bringing  to 
the   hearer   one  of  the  greatest   of   living  personalities. 

Yet,  paradoxical  as  it  may  seem,  his  is  a  personality 
too  great  to  obscure  that  of  the  composers  whom  he 
interprets.  In  the  Variations  he  evoked  the  serene  and 
elegant  spirit  of  Mendelssohn.  His  Chopin  was  living 
poetry  and  was  played  almost  like  an  improvisation.  It 
was  so  personal  and  free  that  one  might  have  fancied 
Chopin,  himself,  at  the  keyboard.  The  Fantasia — 
blazing,  incandescent — became  the  efflorescence  of  the 
mighty  genius  that  was  Schumann.  And  with  not  less 
eloquence,  but  with  a  passionate  profundity,  was  Beet- 
hoven expressed,  while  his  Liszt  was  as  dazzling  as  a 
cascade  of  beautiful  gems. 


Page  Forty-Eight 


SuADOWLAND 


The  master's  reappearance  a  few  days  later  with 
the  New  York  Symphony  Society  confirmed  the 
opinion  that  he  has  returned  with  enhanced  powers 
to  sway  and  charm.  To  hear  him  play  Beethoven's 
Emperor  Concerto  is  to  hear  the  most  eloquent  and 
lofty  utterances  of  a  great  spirit  voiced  by  the  com- 
poser's intellectual  and  spiritual  peer.  Here  is  no 
virtuoso's  music,  it  presents  no  opportunities  for 
mere  brilliant  display.  But  it  is  music  which  speaks 
to  the  heart  and  mind,  and  Paderewski  conveys  its 
message  and  appeal  as  no  one  else  does.  Before 
such  art  one  humbly  bows  the  head  and  offers  thanks 
to  whatever  gods  there  be. 

Another  supreme  artist  and  commanding  person- 
ality has  returned  to  sway  and  play  upon  the  emo- 
tions of  his  hearers  as  probably  no  other  in  the 
same  sphere  of  art — grand  opera — has  ever  done. 
Of  course  the  reference  is  to  Chaliapin.  Of  all  the 
great  singing  actors  who  have  gone  before  he  must 
undoubtedly  be  the  greatest.  For  not  even  Lablache, 
Garcia,  Mario,  Maurel,  Renaud  and  Jean  de  Reszke, 


Edwin 
Bower 
Hesser 


most  of  whom  are  within  living  memory, 
possessed  the  qualities  of  a  noble  voice  most 
nobly  used,  and  a  superb  and  commanding 
presence  and  personality,  together  with 
supreme  ability  as  an  actor.  Chaliapin, 
above  and  beyond  the  attributes  mentioned, 
has  that  something  which  is  so  difficult  to 
define  or  describe,  but  which  belongs  to  the 
truly  great.  It  is  a  combination  of  genius 
and  utter  simplicity.  Here  is  a  man  of  the 
people,  of  peasant  parentage,  who  bears  him- 
self more  like  a  king  than  almost  any 
monarch  that  ever  donned  the  purple  and 
wore  a  crown.  He  is  a  king  among  men. 
And  when  he  portrays  Goethe's  spirit  of 
negation  and  evil,  his  defiance  hurled  at  the 
Supreme  Being  seems  like  a  challenge  ring- 
ing thru  the  Universe ;  while,  without  word 
■or  sound,  he  dominates  the  revels  of  the 
Brocken  and  centers  attention  upon  himself. 
As  Philip  II  of  Spain  in  Verdi's  unequal 
Don  Carlos,  based  on  Schiller's  poem, 
(Continued  on  page  73) 


Mishkin 


The  possessor  of  a  beautiful  voice,  a  master  of  bel  canto,  and  a 
fine  actor  with  a  dignified  and  impressive  presence,  Giuseppe 
Danise,  above,  is  one  of  the  most  valuable  of  recent  additions 
to  the  artists'  roster  of  the  Metropolitan  Opera,  of  which  he  is 
the  leading  baritone  in  Italian  roles.  Ina  Bourskaya  (left),  for- 
merly a  member  of  the  Russian  Opera  Company,  is  now  appearing 
with  both  the  Metropolitan  and  Chicago  organizations 


There  are  few 
more  valuable  art- 
ists at  the  Metro- 
politan Opera  than 
Leon  Rothier,  the 
French  basso.  His 
handsome  and  com- 
manding figure 
makes  him  an  ideal 
impersonator  of 
kings  and  princely 
persons,  altho  he  is 
by  conviction  the 
best  of  Republic- 
ans. His  latest  im- 
personation of 
Friar  Laurence  in 
the  magnificent  re- 
vival of  Gounod's 
melodious  Romeo 
et  Juliette  is  an  ad- 
mirable achieve- 
ment 


Page  Forty-Nine 


Camera  study  of  a  Morgan  Dancer  by  Edwin  Bower  Hesser 


THE  HEART  OF  THE  WOODS 


Page  Fifty 


mm 

I 

; 

The  Quaint  Netsuke 
of  Japan 


By  W.  G.  Bowdoin 


Photographs  by  courtesy  of  the  Metropolitan  Museum  of  Art 


TO  the  connoisseur,  a  collection  of  antique  netsuke 
is  as  informative  of  Japanese  ancient  history  and 
customs  as  any  printed  word,  for  the  earliest  carvers 
of  these  ornaments,  seeking  designs,  invariably  chose 
some  incident  in  their  daily  routine  or  in  the  affairs  of 
their  provinces. 

Later,  the  artists  carved  their  favorite  animals,  their 
national  gods,  incidents  from  the  folk-tales  of  their  race, 
even  masks  caricaturing  their  friends  or  members  of  their 
families.  Many  of  the  artists  treated  these  subjects  flip- 
pantly, even  those  touching  their  religion. 

However,  the  first  netsuke  were  not  carved  or  dec- 
orated ;  they  were  made  of  wood  in  irregular  form,  created 
merely  to  serve  a  useful  purpose — that  of  attaching  se- 
curely to  the  belt  the  pipe-case,  tobacco  pouch  and  inro 
(a  receptacle  for  carrying  seals,  medicines,  etc.).  The 
cord  of  the  receptacle  was 
passed  thru  the  two  small 
holes  in  the  netsuke,  which 
was  then  slipped  under  the 
belt  and  out  at  the  top. 

Boxwood  and  the  core  of 
the  cherry-tree  were  the  fa- 
vorite woods  of  the  carvers. 
Gradually  horn,  lacquer,  met- 
al, crystal  and  jade  were 
used,  but  it  was  not  until  the 
eighteenth  century  that  the 
carvers  experimented  with 
ivory. 

There  are  but  few  objects 
within  the  whole  range  of 
Japanese  art  which  convey 
in  so  high  a  degree,  within  so 
small  a  compass,  so  much  of 
the  originality  and  purity  of 
taste  of  the  creating  work- 
men. 

The  skill  of  the  old  net- 
suke makers  with  their  tools 
will  ever  be  a  source  of  won- 
der. Some  of  the  little  fig- 
ures are  less  than  one  inch 
high,  but  the  pose  of  the 
body  is  true  and  lifelike,  the 


The  netsuke  in  the  form  of  masks,  animals  and  grotesque 

figures   on   this  page   were   carved   in   ivory   early   in  the 

nineteenth   century 


facial  expression  is  perfect,  and  often  such  minute  details 
as  the  fingernails  are  exactly  indicated.  The  carvers 
even  possessed  the  art  of  giving  expression  to  the  faces 
of  animals. 

As  in  the  decoration  of  the  sweetmeat-cases,  or  in  the 
Japanese  prints,  it  is  the  quaint  conceit,  the  Oriental 
humor,  the  unexpected  revelation,  which  enters  into  the 
conspiracy  to  assail  and  capture  the  collector's  fancy.  The 
carver  of  netsuke  nearly  always  had  some  surprise  in  store. 
It  is  impossible  to  avoid  a  certain  sort  of  childish 
delight  when  one  takes  up  and  examines  these  little  objects. 
Even  the  under  portion  is  not  forgotten,  as  an  Occidental 
artist  would  forget,  but  is  most  carefully  and  painstak- 
ingly worked  out  by  the  Japanese  carver,  quite  as  much 
as  if  it  were  to  be  seen  in  a  passing  glance. 

It   cannot  be   supposed  that   everyone   will   have  that 

knowledge  of  Japanese  his- 
tory and  folk-lore  which  will 
enable  him  fully  to  under- 
stand all  of  the  subtle  allu- 
sions which  these  little  carv- 
ings contain,  but  the  story  is 
so  apparent  in  many  of  them, 
that  no  explanatory  text  is 
needed.  The  legend  can  often 
be  guessed,  and  joy  comes 
thru  it,  even  without  full  and 
comprehensive  knowledge. 

The  collector  of  antique 
netsuke  cannot  depend  upon 
the  usual  signs  of  age.  Often 
ivory  netsuke  are  stained 
with  herb  juices  to  enhance 
their  value  by  a  spurious  ap- 
pearance of  age.  Crudity  of 
design  is  no  guide,  for  that 
crudity  may  be  merely  the 
result  of  a  hand  ignorant  of 
methods  and  tools.  A  worn 
appearance  must  be  disre- 
garded, for  a  really  ancient 
netsuke  may  appear  without 
a  scratch  or  stain,  having 
been  carefully  cherished  as  a 
favorite  piece. 


Page  Fifty-One 


Ten-Minute  Plays 

I:     INDIAN  SUMMER 
By  Pierre  Loving 


zf  PRIVATE  supper-room  in  the  Kenilworth  Hotel. 
•**■  There  is  a  couch  on  the  right  draped  with  a  very 
sheer  velvet,  luminously  red — dark,  reminiscent  of  cardinal 
cloth.  The  table  in  the  center  of  the  room  is  laid  for  two. 
The  left  wall  slants  to  the  door  in  the  back.  There  is  a 
generous  fireplace,  obviously  never  used,  cut  in  this  wall. 
The  curtains  hanging  over  the  door  are  also  red  velvet, 
but  much  heavier  in  texture  than  the  loose  couch-drape. 
The  waiter  comes  in,  ushering  Hartley  Conway  and 
Avis  Mallowes. 

Waiter:     Is  this  the  room,  sir? 

Hartley  {coming  in  and  looking  around)  :  Yes,  thank 
you.     Wont  you  come  in,  Avis? 

(Hartley,  who  is  in  formal  clothes,  gives  the  appear- 
ance of  being  not  quite  certain  of  himself.  He  is  above 
middle  size,  Jias  dark  hair,  stiff  and  brushy,  topping  a 
square  forehead.  His  nose  is  aquiline  but  not  sharp;  it 
is  straight  at  the  tip.  His  mustache  is  crow-black  and 
full.  His  chin  is  disposed  to  a  rather  engaging  pointed- 
ness.  Avis  is  tall  and  graceful ;  she  swings  into  the  room 
'with  an  easy  stride.  Her  hair  is  a  dark  cloud  above  ivory- 
white  neck  and  shoulders,  sloping  finely.  At  the  back  of 
her  neck  her  hair  is  done  in  an  austere  knot  which  con- 
trasts with  the  soft  fluff  of  rebellious  tendrils  about  her 
face.  Her  lips  are  a  little  thin,  but  not  ungenerous.  There 
are  somber  depths  under  her  eyes,  which  arc  a  good  deal 
accentuated  by  high  cheekbones  and  a  proud  curving  nose. 
She  is  about  thirty-eight ,  while  Hartley,  you  surmise,  is 
slightly  older.) 

Avis  (as  Hartley  helps  her  remove  her  cloak)  :  This 
is  perfectly  delightful.  What  a  charming  idea  of  yours, 
Hartley! 

Hartley  :  I'm  glad  you  like  it.  I  wasn't  sure  at  first. 
It's  a  bit  hectic,  perhaps. 

Avis  :  Hectic?  Not  for  my — our  time  of  life,  Hartley. 
We  can  bear  warm  reds  and  caressing  golds.  I  some- 
times think  that  people  like  us  starve  without  them.  I 
mean,  those  who  are  over  thirty-five.  Brave  blue  and 
candid  white  are  the  colors  of  youth,  aren't  they? 

Hartley  :  But  those  were  never  your  colors,  Avis. 
At  least  not  fifteen  years  ago  when — (Avis  drops  her 
head.)  Oh,  it's  beastly  of  me  to  talk  of  it!  It  makes  me 
feel  like  a  cad  all  over  again. 

Avis:  A  cad?    (Pause.) 

Hartley  :  Yes.  I  dont  know  why  I  went  off,  leaving 
you.   And  then  you  married  Mallowes,  who 

Avis  (drawing  herself  up  with  dignity)  :  Please.  He's 
my  husband  now. 

Hartley  (contrite)  :  I'm  sorry.  But  look  what  he's 
done  to  you !  You  seem  weary  and  bored  with  life  after 
fifteen  short  years;  you  talk  as  tho  the  best  of  life  were 
behind  you.  Behind  you  in  the  sense  that  you  never 
enjoyed  it  at  all. 

Avis :  Let's  not  be  sentimental  tonight.  You  and  I 
are  just  a  pair  of  old  friends,  Hartley.  Let's  stick  to 
that.  You  have  a  wife  and  I  a  husband.  That  means 
that  we  have  invisible  table  companions. 

Hartley  :  I  couldn't  bear  leaving  New  York  on  this 
trip  without  seeing  you,  if  only  for  an  hour.  That's  why 
I  telephoned  you  as  soon  as  I  had  arrived  to  see  if  we 
couldn't  have  a  little  dinner  a  deux. 

Avis :  And  your  message  found  me  all  alone,  as  tho 
waiting.     Tell  me  about  yourself.     What's  happened  to 


you  all  this  time?  Tell  me  .  .  .  (with  a  break  in  her 
voice)  what's  your  wife  like?    Have  you  any  children? 

Hartley  :  Alice  ?  She's  not  at  all  like  you — keen  and 
aware — but  comfortable  and  domestic.  There  are  two 
children,  a  boy  and  a  girl.  My  ranch  in  California  turned 
out  a  huge  success.  That  enabled  me  to  return  to  my 
painting.  I  won  the  Autumn  Salon  prize  in  Paris  last 
year. 

Avis  (mechanically)  :     The  Autumn  Salon? 

Hartley:     Yes.     I  never  thought  I'd  go  back.     But 

I  daresay  the  comfort  Alice  gave  me But  let's  not 

talk  about  me.     How  has  your  life  with  Mallowes  been? 

Avis :  Jim  has  been  gentle  and  kind  and  good.  The 
other  things  he  could  not  help.  Champagne  and  vapid 
entertainment,  lavish  and  vulgar  display  in  well-known 
cabarets  and  all  the  rest  of  it  .  .  .  Oh,  why  blame  him? 
He  knew  that  I   .    .    . 

Hartley  (eager)  :    Yes? 

Avis :     That  I  didn't  really  love  him,  anyway. 

Hartley  :  You  didn't  love  him  ?  Why  .  .  .  this  is 
.    .    .  is  .    .    . 

Avis   (quickly)  :     No,  it  isn't. 

Hartley  (astonished)  :  But  I  left  New  York  for  the 
West  only  because  I  thought  you  were  interested  in 
Mallowes. 

Avis  (after  a  pause)  :  Hartley,  dear,  I  was  never  in 
love  with  him.  I  am  not  in  love  with  him  now.  Why 
didn't  you  take  the  trouble  to  find  out? 

Hartley  :     Avis ! 

(Hartley  gropes  for  her  hand  across  the  table.  Waiter 
comes  in  with  the  first  course;  tlicn  goes  out  quietly, 
shutting  the  door.) 

Avis:  Hartley!  (with  a  sob)  why  did  you  leave  me 
then  ? 

Hartley  :  I  thought  you  were  gone  on  Mallowes.  I 
couldn't  understand  it,  of  course.  But  it  all  pointed  that 
way.    I  couldn't  bear  it.    I  had  to  leave.    Then  I  met  Alice. 

Avis  (gazing  about  the  room)  :  I  am  fond  of  reds 
and  golds — strong,  vivid  colors.  When  I  was  down  in 
Santa  Fe  last  year  I  picked  up  a  little  Pueblo  wooden 
god,  the  god  of  fertility — I  suppose  he  was  also  the  god 
of  love — and  he  was  painted  most  fascinatingly  in  corn- 
silk  gold  and  autumn  reds.  I  never  think  of  summer  any 
longer  in  connection  with  myself.  Always  of  September, 
Indian  summer.  (After  a  pause,  she  continues  abstracted- 
ly.)    That  year  of  our  love  was  beautiful. 

Hartley  (tensely)  :  You  mean  you  dont  regret  it, 
after  all  that's  happened? 

Avis :     No. 

Hartley  (leaning  across  the  table  and  taking  both  her 
hands  in  his,  passionately)  :  Avis,  you  have  spoken  the 
one  word  that  was  needed  between  us.  Avis,  this  is  our 
Indian  summer.  Fifteen  years  ago  we  were  very  young. 
We  didn't  know  our  hearts.  Now  we  know  them.  There 
are  mellow  autumnal  overtones  to  our  love ;  it  is  richer 
and  stronger.  (He  rises  and  goes  over  to  her.)  Avis, 
dearest  Avis,  I  love  you.     (He  kisses  her.) 

Avis  (with  eyes  closed)  :  And  I  you.  Hartley,  can 
you  blot  out  the  fifteen  years  between,  as  I  am  doing  now? 

Hartley  :    They're  only  a  handful  of  dust  in  the  wind. 

Avis  (as  if  to  herself)  :  A  handful  of  bitter  dust  for 
me,  Hartley. 

Hartley  :  It  isn't  too  late  to  redeem  what  we've  lost. 
(Continued  on  page  72) 


Page  Fifty-Tivo 


ARTUR  BODANZKY 

Here  we  have  the  principal  conductor  of  the  Metropolitan  Opera 
stripped  for  action.  No  one  conducts  a  Wagner  opera  with  greater 
insight  and  authority,  and  he  is  shown  at  rehearsal  drawing  from 
principals,  chorus  and  orchestra  those  superb  effects  which  thrill 
thousands  at  a  performance  of  one  of  the  Master's  works.  And 
yet  Bodanzky  is  no  slavish  follower  of  the  Bayreuth  tradition, 
and  no  one  knows  better  how  to  cut  and  compress  and  avoid  those 
"vain  repetitions"  and  longueurs  which  doubtless  Wagner  him- 
self would  have  wished  to  avoid  had  he  been  as  good  a  critic 
of  his  own  work  as  he  was  of  that  of  others.  Bodanzky  is  a  great 
figure  in  the  musical  world,  and  apart  from  the  Metropolitan  he  is 
doing  fine  work  for  the  Society  of  the  Friends  of  Music  in  New  York 


Page  Fifty-Three 


MARGARET  IRVING 

Who  is  making  her  debut  as  a  cinema 
star  in  "M.  A.  R.  S."  the  new  third- 
dimensional   stereoscopic  motion  picture 


Alfred  Cheney  Johnston 


Page  Fifty-Four 


THE  SENTINEL 
In  modeling  this  little  figure 
Mr.  Franklin  has  faithfully 
reproduced  the  costume  of 
the  scouts  and  traders  of 
Daniel  Boone's  day — even 
making  an  exact  replica  of 
the  powder-horn  and  flint- 
lock musket.  The  winter 
scene  at  the  right  depicts  an 
unexpected  meeting  between 
traders  from  a  Goast  settle- 
ment, and  an  Indian  chief- 
tain and  his  squaw 


Dwight  Franklin 

and 

His  Art 


THE  BUCCANEER 
This  is  one  of  the  artist's 
famous  "Pirate  Series."  No 
detail  of  the  equipment  of 
the  sailing  ship  of  early  days 
has  been  omitted.  The  pirate 
is  a  veritable  "Captain  Kidd," 
with  a  kerchief  on  his  head 
and  brass  rings  in  his  ears. 
Onecanimagine  him  roaring: 
"Fifteen   men  on  a  dead 

man's   chest. 
Yo-ho-ho    and    a    bottle 

o'rum!" 


Dwight  Franklin  is  probably  the  best-known  expert  in  modeLvisualized  research  work  in  this 
country.  For  seven  years  he  constructed  the  famous  models  of  the  New  York  Museum  of 
Natural  History,  illustrating  periods  of  history  and  anthropology.  Eight  years  ago  he  left  the 
Museum  to  free-lance,  and  has  done  research  work  and  models  for  nearly  all  the  greater  Ameri- 
can museums.  Every  one  of  Mr.  Franklin's  large  group-models  takes  many  weeks  to  construct, 
and  the  research  work  which  must  precede  the  actual  modeling  covers  months.  He  is  now  with 
the  Film  Guild,  making  tiny  wax  models  for  the  costuming  of  Percy  Mackaye's  fantastic  play, 
"The  Scarecrow."  In  the  picture  below,  Mr.  Franklin  is  explaining  one  of  the  miniature 
sets  to  Glenn  Hunter,  who  is  to  star  in  the  screen  version  of  "The  Scarecrow" 


The  Film  Guild 


Page  Fifty-Five 


r 


Wanderings 

B? 

The  Man  About  Town 


1ISTENING  to  Paderewski  play  with  something  more 
than  his  old  power  and  poetry,  I  reflected  that  I 
^J  had  heard  him  play  upon  the  emotions  of  his 
hearers  without  the  aid  of  a  piano,  but  merely  by  means 
of  his  most  eloquent  and  moving  utterances  in  behalf  of 
his  beloved  Poland,  and  I  realized  how  and  why  he  was 
one  of  the  most  interesting  and  impressive  figures  at  the 
Peace  Conference.  Here,  bethought  me,  was  the  man 
who  had  expended  a  princely  fortune,  amassed  by  dint 
of  years  of  study  and  almost  incessant  toil,  for  a  country 
which  he  loved  with  a  consuming  love,  a  love  greater 
even  than  that  he  bore  for  his  art,  but  who  nevertheless 
had  been  treated  with 
shameful  ingratitude 
and  almost  contumely 
by  his  own  people,  and 
who,  in  the  autumn  of 
his  years,  was  com- 
pelled to  return  to  a  life 
of  hard  work  in  order 
to  support  himself  and 
those  dear  to  him. 

T^HE  lies  told  of  Pa- 
-*■  derewski  by  certain 
persons  of  the  baser 
sort  were  enough  to 
make  one  rage.  A  man 
of  the  utmost  tolerance, 
he  was  accused  by  a 
radical  and  bolshevist 
element  of  permitting, 
if  not  encouraging, 
racial  and  religious 
persecution  in  Poland, 
and  it  was  that  element 
in  his  own  country 
which  cast  him  aside. 
But  there  is  consola- 
tion in  the  thought  that 
there  are  thousands 
who  love  him  for  his 
noble  qualities  of  heart 
and  mind,  as  well  as 
millions  who  respond 
with  enthusiasm  to  his 
splendid   art.  , 

It  was  characteristic 
of  Paderewski  that 
after  he  had  given  his 
first  recital  in  New 
York,  an  arduous  as 
well  as  emotionally  ex- 
hausting experience,  he 
should  have  gone  im- 
mediately to  visit  his  old  friena  and  colleague  Ciemen- 
ceau,  and  played  to  him  for  an  hour  what  he  called  "bed- 
side music,"  for  the  grand  old  man  of  France  retires 
early  to  rest.  Who  will  paint  the  ex-premier  of  Poland 
playing  the  piano  to  the  ex-premier  of  France?  What  a 
picture  for  posterity ! 

THE  critics  have  been  almost  unanimous  in  their  en- 
thusiasm over  John  Barrymore's  Hamlet,  and  it  was 
obviously  a  performance  not  to  be  missed  by  one  who  has 


IGNACE  JAN  PADEREWSKI 
A  portrait  study  made  when  he  was  approaching  middle  life 


seen  virtually  all  the  great  Hamlets  of  the  past  thirty 
years.  If  I  cannot  speak  of  it  in  terms  of  unreserved 
praise,  it  is  in  many  respects  a  memorable  and  beautiful 
impersonation.  No  one  could  possible  look  the  part  bet- 
ter. Barrymore  has  the  chiseled,  sensitive  features  and 
the  slim  and  elegant  form,  as  well  as  the  youth  and  grace 
which  should  belong  to  Shakespeare's  Prince  of  Den- 
mark. His  face  is  "sicklied  o'er  with  the  pale  cast  of 
thought"  and  is  of  eloquent  mobility.  He  speaks  his  lines 
with,  for  the  most  part,  excellent  emphasis  and  point,  and 
I  have  never  seen  a  Hamlet  who  extracted  so  much 
humor  from  the  scenes  with  Polonius,  Rosencrantz  and 

Guildenstern,    and    the 
foppish  Osric. 

He  has  not  the  rich 
tones,  the  musical  ca- 
dences, and  the  flaw- 
less diction  of  Forbes- 
Robertson,  or  Hamp- 
den, and  in  the  play 
scene  he  fails  to  rise  to 
the  full  height  of  the 
excitement  which  he 
should  display  when  he 
marks  the  effect  of  the 
murder  scene  upon  the 
King.  But  this  may  be 
accounted  for  in  part 
by  the  way  in  which 
this  episode  is  staged, 
which  I  venture  to 
think  is  altogether  un- 
suitable as  well  as  dis- 
tracting, especially  to 
those  who  are  grounded 
in  the  traditions  of  the 
Shakespearean  theater, 
altho  the  general  pro- 
duction is  by  no  means 
so  mistaken  as  Mr. 
Hopkins'  previous  mal- 
treatment of  Macbeth. 

A/fR.  HOPKINS 
-!■'-■-  may  well  excuse 
himself  on  the  score 
that  every  manager,  es- 
pecially every  actor- 
manager,  from  the  days 
of  David  Garrick,  has 
seen  fit  to  tinker  and 
tamper  with  the  text, 
to  rearrange  the  scenes 
and  episodes,  and  to 
stage  Hamlet  in  his  own 
manner.  Mr.  Hopkins,  with  the  artistic  aid  of  Mr.  Robert 
Edmond  Jones,  has  given  a  setting  to  the  play  which  is 
certainly  novel,  and  on  a  few  occasions  striking,  but 
which  in  many  places  hampers  the  action  and  muddles 
the  minds  of  those  who  do  not  know  their  Shakespeare. 
The  substitution  of  an  irritating,  flickering  light  for  the 
Ghost,  instead  of  showing  him  "in  his  habit  as  he  lived," 
in  a  feeble  and  foolish  device,  pace  that  scarcely  eminent 
authority  Mr.  William  Faversham.  The  performance  of 
(Continued  on  page  74) 


Gordon  Bryant 


Page  Fifty-Six 


A 

Celebrated 
Foursome 

By  Bill  Breck 


JOSEPH  HERGESHEIMER 
The  modern  Joseph's  coat  of  many  colors  is  replaced  by 
"The  Bright  Shawl."  This  admirable  book  is  being  filmed 
in  Cuba,  under  the  supervision  of  the  author,  who  will, 
when  necessary,  be  sustained  in  his  arduous  labors  by 
the  bland  and  benevolent  Vaquiri  cocktail 


JOHN  DREW 
The  grand  old  man  of 
the  American  stage, 
ivho  has  just  produced 
an  admirable  book  of 
theatrical  memories. 
He  is  still  the  glass  of 
fashion  and  the  mold 
of   form 


MARIAN  LORD 
One  of  Broadway's  most  bril- 
liant comediennes.  In  "The 
Last  Warning"  she  plays 
straight  burlesque  part  so 
well  that  some  day  she  will  be 
a  memorable  Mrs.  Malaprop 


WILLIAM 
H.   GUARD 

Most  tactful  of  pub- 
licity directors  and 
the  guide,  philoso- 
pher and  friend  of 
every  artist,  press- 
man  and  deadhead 
at  the  Metropolitan 
Opera.  He  refuses 
a  free  admission  as 
if  he  ivere  confer- 
ring a  favor 


Page  Fifty-Seven 


r 


MYRA  HESS 
This  young  English 
pianist,  who  won  un- 
stinted praise  from 
critics  and  public  in 
New  York  last  season, 
has  returned  for  an 
American  tour.  To  see 
«s  well  as  hear  her  is 
a  delight 


ERNA 
RUBINSTEIN 

The  youngest 
and  many  think 
the  best  of  girl 
violinists  now 
before  the  pub- 
lic. She  was  in- 
troduced to  New 
York  by  Men- 
gelberg,  and  cre- 
ated a  sensation 
when  she  played 
with  the  Phil- 
harmonic 
Society 


Youth 

and 

Music 


Goldberg 


SIGRID  ONEGIN 

Next  to  Chaliapin  the  sensation  of  the 
season  at  the  Metropolitan  Opera.  She 
is  possessor  of  a  magnificent  mezzo- 
soprano  voice  of  great  compass,  which 
she  uses  with  thrilling  effect,  while 
her  fine  features  and  commanding 
presence  make  her  an  ideal  imper- 
sonator   of    leading    Wagnerian    roles 


Royal  Atelier,  N.  Y. 


MARIE  NOVELLO 
Another  English  pian- 
ist who  is  an  instance 
of  beauty  and  talent 
going  hand  in  hand. 
She  comes  of  famous 
musical  stock,  being 
a  descendant  of  the 
great  Clara  Novella 
and  sister  of  Ivor  No- 
vello,  musician,  singer 
and  actor,  who  com- 
posed that  famous 
stimulus  to  patriotism 
"Keep  the  Home  Fires 
Burning" 


Page  Fifty-Eight 


In  Studio  and  Gallery 


HENRY  S.  EDDY,  ever  since  his  return  from 
the  Continent,  has  been  busy  putting  up  tapes- 
tries, hanging  silk  curtains,  and  in  other  ways 
trying  to  get  the  artistic  touch  in  his  studio  at  Westfield, 
New  Jersey.  All  this  because  someone  told  him  that  at 
least  one  artist  should  have  a  studio  that  lived  up  to 
popular  fiction.  Beside  this,  he  is  arranging  the  pictures, 
which  resulted  from  his  year  on  the  Continent,  for  a 
showing  at  the  Babcock  Galleries  starting  February 
twenty-sixth.  Christian  Brinton,  that  mellifluous  critic 
is  getting  out  the  brochure  to  accompany  the  pictures. 
It  would  be  an  original  touch  if  he  would  add  anecdotal 
matter  —  for  in- 
stance, the  little 
story  about  Mr. 
Eddy,  who,  as 
usual,  was  de- 
claiming to  a 
friend  on  the 
beauties  of  his 
favorite  Vermont 
hills.  "Oh,  yes," 
said  his  friend, 
with  a  pathetic, 
reminiscent  look 
in  his  eyes,  "I 
remember  those 
hills  ;  my  car  nev- 
er could  make 
them." 

Druce  Crane 
■*-*  was  having  a 
calm,  placid  time 
at  Lyme,  paint- 
ing, loafing  and 
generally  enjoy- 
ing himself,  when 
he  was  called  to 
New  York  in  ref- 
erence to  a  pic- 
ture. A  horrible 
daub  was  placed 
in  front  of  him 
and  in  the  lower 
right-hand  corner 
was  his  signature. 
"Are  you  guilty 
of  that?"  he  was 
asked.  "Well," 
said  Mr.  Crane, 
"I  have  painted 
some  horrible 
'buckeyes,'  but 
never  with  my 
left  hand ;  those 
trees  are  terrible." 
And  a  sadder  but 
wiser   collector 

tucked  the  maligned  painting  under  his  arm  and  vowed 
he  would  never  buy  another  painting  unless  the  artist  was 
at  his  elbow. 

/~"^  eorge  Pearse  Ennis,  who  spends  his  summers  at 
^-*  Eastport,  Maine,  where  by  moving  from  one  side  of 
his  cottage  piazza  to  the  other  he  can  see  his  favorite 
granite  rocks  or  the  fishing  smacks  on  his  very  blue 
ocean,  has  acquired  a  following.  It  is  not  composed  of 
people  who  stand  off  and  squint  at  his  pictures,  speaking 


Courtesy    of   the    Fearon    Galleries 


"DAWN,"  by  Jo  Davidson 


of  nuances,  composition  and  rugged  strength — no,  indeed. 
This  new  following  trails  him  silently  and  persistently 
around  Eastport,  and  when  he  packs  up  his  easel  and 
goes  back  to  his  cottage  these  satellites  rush  forward 
and  snatch  empty  paint  tubes,  old  paint  rags,  in  fact, 
anything  that  he  leaves.  They  say  that  the  house  of 
practically  every  "native"  in  Eastport  sports  some  sou- 
venir that  belonged,  at  one  time,  to  Mr.  Ennis. 

"Ooardman  Robinson,  is  now  in  London  and  expects 
U  to  remain  there  for  the  next  year  or  so.  He  gave  up 
his  instruction  work  at  the  Art  Students'  League  to  accept 

a  position  as  car- 
toonist on  the 
English  Outlook. 
Another  in- 
structor missing 
from  the  League 
is  Maurice  Sterne ; 
not  only  is  he 
missing  but  many 
of  his  pupils  are 
with  him.  They 
liked  him  and  his 
teaching  so  much 
that  finally  he 
consented  to  let 
them  go  back  to 
Italy  with  him, 
where  he  has  a 
villa  near  Rome. 
The  arrangement 
is  not  only  good 
for  the  students 
but  for  Mr.  Sterne 
as  well. 

T^he  Brooklyn 
-'-Society  of 
Artists,  which  has 
been  struggling 
the  last  few  years 
to  remain  pro- 
gressive— in  spite 
of  the  fact  that 
most  of  the  prop- 
aganda against 
this  progressivism 
has  come  from  the 
ranks  of  the  so- 
ciety itself  —  has, 
in  the  eyes  of 
most  of  the  ad- 
vanced artistic  set, 
suffered  defeat. 
At  the  last  elec- 
tion, in  December, 
the  conservatives 
came  back  into 
power,  and  if  they  succeed  in  doing  what  they  have  done 
to  several  other  organizations  in  Brooklyn  with  which 
they  have  been  connected,  it  means  that  the  Brooklyn 
Society  has  received  its  quietus.  Mr.  Charles  Wesson 
is  the  new  President. 

Tf  five  or  more  years  ago  Robert  Browning,  suddenly, 

•*■  could  have  appeared  at  some  woman's  club  and  heard 

them  explain  what  he  meant  by  "Round  the  cliff,  of  a 

{Continued  on  page  76) 


Page  Fifty-Nine 


CASTLES  OF  TODAY 

First  Prize 

By   Johan   Hagemeyer 

An  interesting  composition  selected  from  an  apparently  complex  and 

uninteresting   motif.     The   line   directions   are    beautifully   balanced 

The  Camera  Contest 

EDITOR'S  NOTE :  This  month's  article  is  by  John  Wallace  Gillies,  who  is  an  expert  irf 
architectural  photography.  In  writing  this,  Mr.  Gillies  has  endeavored  to  put  down  a 
few  of  the  fundamental  truths  that  must  be  learned  before  composition  can  be  understood 


Page  Sixty 


i\ 


Look  To  Your  Composition 

By  John  Wallace  Gillies 


WE  are  going  to  attempt  to  uncover  with  a 
brief  explanation  the  mystery  of  why  one 
photograph  looks  well  and  why  another 
does  not.  It  is  certain  that  in  either  case  the  same 
cameras,  plates  or  films,  and  papers  could  be  used, 
and  yet  widely  varying  results  be  obtained.  We  are 
forced  to  look  for  the  reasons,  and  the  minute  we  do, 
we  invariably  find  that,  aside  from  a  real  understand- 
ing of  the  nature  of  the  materials  we  are  using, 
lenses,  plates,  papers,  etc.,  we  are  confronted  with 
the  thought  of  composition,  or  arrangement.  By  that 
we  mean  how  we  decide  to  place  the  different  objects 
we  photograph,  on  the  picture  space,  with  relation  to 
the  boundaries  of  the  oicture  and  with  relation  to 
each  other. 

In  any  camera,  we  have  the  edges,  or.  boundaries 
of  our  picture  all  laid  out  for  us.  With  almost  any 
other  method  of  making  a  picture,  such  as  painting 
or  etching,  we  are  forced  to  create  not  only  our 
subject  matter,  but  also  the  boundaries.  This  place- 
ment of  boundaries  is  very  important.  In  pho- 
tography we  have  the  boundary  all  settled  before- 
hand, in  such  a  manner  that  we  realize  it  forcibly, 
and  we  are  forced  to  a  certain  extent  to  think  about 
it.  In  that  respect  photography,  as  a  method  of  cre- 
ating a  picture,  has  an  advantage. 

Now,  this  matter  of  boundary  has  a  very  important 
relation  to  the  picture  and  to  the  composition  of  the 
picture.  A  picture  is,  usually,  an  arrangement  of 
different  things  within  a  rectangle,  and,  if  good 
enough,  is  hung  on  the  wall,  and  if  it  is  a  good 
picture,  will  stay  on  the  wall;  if  it  is  not  a  good 


PORTRAIT 

Second  Prize 

By  James  C.  Coppola 

A  beautiful  design  in  line  and  pattern.    An  unusual  conception 

of  pose;  one  is  able  to  visualize  the  head  and  face  as  a  whole 


picture,  it  is  then 
taken  off  the  wall. 
In  saying  this,  we 
leave  aside  the 
question  of  pho- 
tographs which 
have  a  sentimen- 
tal rather  than 
pictorial  value. 
We  are  confining 
ourselves  alto- 
gether to  the  pic- 
ture which  is 
beautiful,  or 
which  is  made  to 
stand  simply  up- 
on its  own  legs  as 
a  picture,  with 
nothing  involved 
except  its  own 
ability  to  hold  its 
place   upon  the 


NEW  YORK 
HARBOR 
Third  Prize 
By  Robert  Waida 
In     the     enveloping 
grey    of    the    atmos- 
phere the   boats  are 
disposed  to  carry  the 
eye    easily    thru    the 
whole      composition 


Page  Sixty-One 


SuADOWLAND 


EQUINOX  HOUSE 

Honorable  Mention 

By  Harry  A.  Neuman 

An  excellent  arrangement  of  black  and 

white,     showing     a    pleasing     contrast 


wall  on  account  of  its  aesthetic  value  and  its 
ability  to  give  pleasure  as  a  picture. 

We  have  established  the  point  that  a  pic- 
ture is  a  thing  which  is  generally  bounded 
by  four  sides,  and  now  we  can  consider  the 
rectangular  space  of  four  straight  sides,  in 
which  we  propose  to  put  this  picture  we  are 
going  to  make.  You  will  notice  that  I  say 
make,  and  not  take.  A  good  picture  is  usu- 
ally made  and  not  taken,  as  the  arrangement 
of  the  subject  matter  is  not  a  matter  of 
chance  and  the  value  of  the  picture  depends 
largely  upon  this  arrangement.  Of  course 
there  are  the  accidents;  it  was  Whistler  who 


said :  "Do  not  scorn  the  accidents,"  and  he  was  right,  for  now  and 
then  the  tyro  can  make  a  photograph  which  is  very  beautiful  pic- 
torially,  but  he  will  not  continue  to  make  them ;  that  is  why  I  have 
been  asked  to  write  this  little  attempt  at  explanation.  For  many 
centuries  men  have  been  making  pictures  of  all  kinds,  and  probably 
about  ninety-nine  per  cent  of  them  have  been  made  in  square  or  oblong 
spaces,  and  after  many  years  of  trial  and  effort  they  began  to  find 
out  that  the  proportion  of  this  rectangle  had  a  lot  to  do  with  the 
value  of  the  picture,  according  to  what  they  were  trying  to  paint  or 
draw;  if  the  rectangle  was  held  upright  it  had  one  effect;  if  it  was 
horizontal  it  had  another  effect.  The  proportion  of  one  side  to  the 
other  had  an  effect.  No  matter  how  they  varied  the  shape  of  the 
picture  or  whether  it  was  vertical  or  horizontal. 

So  they  began  to  look  into  these  things  and  find  out  why  these 
apparently  small  matters  had  such  an  extraordinary  changing  ef- 
fect, and  they  found  out  that  it  was  impossible  really  to  understand 
it  so  much  as  to  sense  it.  It  so  happens  that  the  usual  picture  space, 
as  adopted  by  the  great  artists,  has  a  proportion  of  sides  of  about 


CORNWALL  ON  THE  HUDSON 

Honorable  Mention 

By  Charles  A.  Hellmuth 

This    is    well    composed    with    a   pictorial    quality 


three  to  four ;  that  is,  within  cer- 
tain limits  of  accuracy.  It  feels 
better  that  way,  and  we  like  it 
better.  Most  of  the  great  pic- 
tures which  have  been  made  over 
the  years,  will  show  a  proportion 
of  measurement  of  the  sides,  of 
three  to  four.  Of  course  there 
are  square  pictures,  and  pictures 
which  are  more  panel  shaped, 
which  are  longer  than  the  pro- 
portion we  name,  but  they  are 
the   exceptions. 

So,  when  they  began  to  make 
cameras,  whose  purpose  was  to 
make  a  picture,  they  naturally 
used  that  picture  space,  and  we 
find  the  two  most  popular  sizes 
for  pictorial  work  the  3^x4^4 
(Continued  on  page  75) 


STORM  CLOUDS 

Honorable   Mention 

By  George  P.  Lester 

A    well-balanced    composition    and    a 

nice  simplicity 


Page  Sixty-Two 


Moffett 


BESSIE  LANDIS 

A  winsome  Beauty  Contest  entrant 


'Page  Sixty-Three 


The  Art 

of  the 

Silversmith 

An  appreciation  of  the  work  of  Georg 

Jensen,  who  revives  the  tradition  of  the 

Renaissance  craftsmen 

B? 
Margaret  Bruening 


WORKING  in  gold  and  silver  as  a  fine  art  died 
out  with  the  Renaissance.  And  with  the  passing 
of  this  great  tradition  there  went  also  that  of  the 
artist  who  was  artisan  as  well.  Since  then  there  have 
been  individuals  here  and  there,  the  Eighteenth  Century 
Lamarie,  for  instance,  who  have  not  been  willing  to  copy 
the  antique  slavishly  or  content  themselves  with  catering 
to  the  taste  of  the  period,  but  no  real  inheritor  of  Renais- 
sance traditions,  no  true  successor  to  the  incomparable 
Benevenuto  Cellini  has  appeared  to  restore  dignity  to  the 
calling  of  the  silversmith  and  originality  and  beauty  to 


A  bonbonniere  commendable  for  its  purity  of  design. 
In  the  tea-machine  at  the  left,  the  problem  of  com- 
bining utility  and  beauty  has  been  happily  worked  out 


his  work.  At  least,  not  till  the  Dane,  Georg  Jensen, 
produced  in  his  workshop  in  Copenhagen  jewelry  and 
silverware  of  such  perfection  as  to  award  him  the  title 
of  master  in  the  eyes  of  cognoscenti.  For  there  is  in 
every  pitcher,  bowl  and  jug,  in  every  spoon,  ladle  and 
fork,  the  touch  of  the  craftsman  who  has  perfected 
his  technique,  and  of  the  artist  to  whom  pure  line  and 
form  are  first  considerations  in  any  design. 

It  is  interesting  to  see  how  Jensen  has  worked  out  the 
problem  of  utility  and  beauty  combined.  There  is 
basic  strength  and  solidity  in  each  piece  and  the  form 
is  nicely  adapted  to  its  use.  Ornament — exquisitely 
modeled  fruits  and  flowers  and  lovely  moldings — is 
never  applied  lavishly,  only  to  emphasize  structural 
lines.  Decoration  is  everywhere  restrained,  but  effective. 

The  color  of  this  silver  is  one  of  its  values.  The 
pure  color  without  the  shiny  glossiness  of  the  machine- 
finished  object,  is  alluring  in  itself  and  gives  a  dis- 
tinction to  each  piece.  It  is  consummate  craftsmanship 
combined  with  artistic  feeling  and  creative  power  that 
give  these  rare  things  their  characteristic  beauty. 

Jensen's  work  has  come,  too,  at  a  critical  time,  for 
the  flood  of  manufactured  products  of  inferior  design 
has  brought  deterioration  of  public  taste.  German 
industrial  expansion,  particularly,  meant  in  Europe  a 
spread  of  cheap  and  tasteless  objects  and  a  decline  of 
aesthetic  appreciation.  There  seemed  no  place  for  the 
artist  in  handicraft  when  cheap  goods  (and  in  quantity 
such  as  only  machines  could  produce)  seemed  the 
only  artistic  need  of  the  people. 

But  this  divorce  of  the  artist  and  the  artisan — a 
purely  artificial  separation^— has  been  shown  false  by 
the  work  of  Jensen,  who  has  combined  brilliant  tech- 
nique with  unerring  taste  in  original  creations  that  place 
him  as  peer  of  the  Renaissance  masters  of  his  craft. 
He  has  not  only  ennobled  his  calling,  but  he  is  making 
it  possible  for  people  of  moderate  means  to  possess 
beautiful  things  for  everyday  use. 


Page  Sixty-Four 


SuADOWLAND 


Georg  Jensen  has  had  a  long  apprenticeship — a 
training  of  head  and  hand.  Born  at  Raavad  in  1866, 
he  was  early  apprenticed  to  a  jeweler.  Traces  of  the 
boy's  early  impressions  of  the  Danish  countryside  and 
his  susceptibility  to  its  beauty  are  apparent  in  much 
of  his  decorative  motifs.  His  fruit  and  flowers  with 
their  exquisite  modeling,  his  knowledge  of  the  struc- 
tural values  of  leaf,  vein  and  tendril,  all  revert  to  his 
boyish  susceptibility  to  beauty. 

During  his  apprenticeship  he  had  been  studying  at 
the  technical  school  and  later  entered  the  academy  of 
art,  where  he  took  his  final  examination  as  sculptor 
in  1892,  exhibiting  his  first  work  in  the  same  year 
at  the  Charlottenborg  Exhibition  of  art.  This  work, 
entitled  Harvest  Boys,  attracted  attention  to  the  young 
artist  because  of  its  harmony  and  also  because  of  its 
realism — qualities  which  are  apparent  in  all  his  works. 
Later,  he  exhibited  the  Wild  Boar  Hunters,  which 
gained  him  the  gold  medal  of  the  academy  and  a 
large  traveling  fund.  Happy  wander jahre  followed 
when,  like  the  young  Cellini,  who  roamed  from  one 
workroom  to  another,  from  Florence  to  Pisa  and  from 
Pisa  to  Rome  gathering  impressions  and  perfecting 
his  skill,  Jensen  traveled  in  France  and  Italy.  He 
was  already  a  mature  man,  equipped  both  as  artist 
and  artisan,  disciplined  by  his  apprenticeship  and  ready 
to  appreciate  the  traditions  of  other  times  and  differ- 
ing talents. 

When  he  found  artists  working  at  handicrafts  and 
yet   preserving  the   dignity  of   their   artistic   calling, 

when  he  be- 
ll e  1  d  the 
masterpieces 
of  the  great 
age  of  mas- 
ter gold-and-sil- 
ver smiths,  a  new 
world  was  open- 
e  d  to  him  in 
which  his  vision 
of  the  artist  and 
his  training  as 
the  craftsman 
were  to  find  har- 
monious expres- 
sion. He  studied 
the  cases  of  gold 
and  silver  arti- 
cles as  well  as 
the  sculptures 
and-  paintings  of 
museums,  his 
horizon  expand- 
ed and  he  saw 
new  channels  in 
which  his  love 
of  beauty  could 
flow.  In  spite 
of  contact  with 
foreign  artists 
and  exhaustive 
study  of  outside  schools  of  art,  Jensen  has  never  lost 
his  Northern  genius.  There  is  a  distinguishing  quality 
in  his  creations  that  shows  an  origin  quite  different  from 
his  Italian  and  French  fellow  artists.  It  is  race  and  racial 
traits  that  make  his  work  so  distinctive  in  conception 
and  execution.  There  is  charm  in  seeing  this  problem 
of  the  silversmith  answered  by  a  new  solution. 

For  a  time  he  was  associated  with  a  friend  in  ceramic 
production,  seeking  higher  standards  and  different  methods 
of  design  for  this  art.  But  later,  after  residence  in  the 
country  had  again  brought  him  close  to  nature,  his  early 
impressions  revived;  he  employed  these  animals,  plants 


The  sugar  bowl  above  is  an  orig- 
inal creation  that  has  been  highly 
praised.     At  the  right,  a  delicately 
executed  cream  jug 


It  is  hard  to  realize  that  the  texture  of  this  jug  was 
achieved  by  hammering 


and  flowers  in  his  design  and  became  the  jeweler  rather 
than  the  sculptor  or  the  potter. 

Early  in  1904  Georg  Jensen  opened  his  first  workshop 
in  Copenhagen.  It  was  a  humble  room  where  he  worked, 
but  his  dream  was  no  idle  one  of  the  revival  of  a  lost 
art  and  the  enrichment  of  daily  life  by  the  refining 
influence  of  beauty.  It  was  not  an  easy  thing  to  give 
up  his  ambitions  as  a  sculptor  and  to  take  up  the  calling 
of  a  ciseleur,  perhaps,  but  he  had  the  faith  in  himself  to 
believe  that  in  working  as  a  craftsman  not  only  would 
his  creative  genius  have  sufficient  outlet,  but  that  he 
would  take  up  the  great  tradition  of  other  days  and 
enrich  it  for  all  time. 

He  approached  some  of  the  best-known  goldsmiths 
of  Copenhagen  before  deciding  to  start  alone,  but  found 
them  unsympathetic  and  fearful  of  working  in  competi- 
tion with  him.  But  the  people  of  the  city  were  quickly 
responsive  to  the  ornaments  that  came  from  the  little 
{Continued  on  page  71) 


Page  Sixty-Five 


r 


{Information    about    theatrical    productions    cannot    invariably    be    accurate    because    of 

the  time  it  takes  to  print  Shadowland.     In  the  meantime,  new  plays   may  have  opened 

and  others  may  have  changed  theaters  or  have  been  discontinued.) 

Drama — Major  and  Melo- 


East  of  Suez.  Eltinge. — Florence  Reed  as  a  beautiful, 
tragic  half-caste. 

Fashions  for  Men.  National. — A  study  in  resigna- 
tion by  the  author  of  "Liliom." 

Gringo.    Comedy. — An  excellent  depictation  of  Mexico. 

Hamlet.     Harris. — John  Barrymore  plays  the  Prince. 

It  Is  the  Law.    Rits. — A  first-rate  melodrama. 

Johannes  Kreisler.  Apollo.  —  Forty-two  scenes; 
original  and  striking  costumes ;  Ben  Ami,  the  hero. 

Listening  In.     Bijou. — Natural   and  supernatural. 

The  Last  Warning.     Klazv. — Perfect  suspense. 

Loyalties.     Gaiety. — One  of  Galsworthy's  best. 


Rain.  Maxine  Elliot. — A  bitter  tragedy  by  Somerset 
Maugham ;  a  violent  attack  on  Puritanism. 

Romeo  and  Juliet.  Longacre. — Ethel  Barrymore 
plays  Juliet. 

Romeo  and  Juliet.    Selwyn. — Jane  Cowl  plays  Juliet. 

R.  U.  R.    Frazee. — A  novel  social  satire. 

The  World  We  Live  In.  Jolson's  Fifty-ninth  St. — 
A  fantastic  comedy. 

Whispering  Wires.  Forty-ninth  St.  —  First-rate 
melodrama. 

The  Merchant  of  Venice.  Lyceum. — David  Warfield 
as  Shylock. 


Humor  and  Human  Interest 


Abie's  Irish  Rose.     Republic— Ever-blooming. 

The  Awful  Truth.  Henry  Miller. — Ina  Claire  and 
Bruce   McRae   learn   that   the   truth  is   a  terrible   thing. 

Hospitality.     Equity. — Depressing  but  well  played. 

Kiki.     Belasco. — Lenore  Ulric  as  an  adorable  gamine. 

MertOn  of  the  Movies.  Cort. — The  cleverest  satire 
on  Broadway. 

The  Lady  Cristalinda.  Broadhurst. — Not  worthy  of 
Fay  Bainter's  talent. 

The  Masked  Woman.  Eltinge. — From  the  French. 
Featuring  Helen  MacKellar.     Fair. 

The  Old  Soak.  Plymouth. — Don  Marquis'  old 
drunkard  is  the  hit  of  the  season. 

The  Seventh  Heaven.  Booth. — Helen  Menken  gives 
the  best  performance  of  her  career. 


The  Sublime  Egotist.  Thirty-ninth  St.  Theater. — 
Once  more  Leo  Ditrichstein  finds  the  right  play. 

The  Tidings  Brought  to  Mary.  Garrick. — A  French 
miracle  play. 

Rose  Briar.  Empire. — Billie  Burke,  sweet  but  in- 
effective. 

Secrets.  Fulton. — Margaret  Lawrence  in  an  English 
comedy-drama. 

Six  Characters  in  Search  of  an  Author.  Princess. — 
Philosophy,  irony  and  satire. 

So  This  is  London.     Hudson. — Obvious  amusement. 

Spite  Corner.    Little. — A  cheerful,  homespun  comedy. 

Thin  Ice.    Belmont. — An  amusing  satire. 

Why  Men  Leave  Home.  Morosco. — A  comedy  with 
a  moral. 


Melody  and  Maidens 


Hippodrome. — Large,  costly,  naive  and 
Century. — Franz  Schubert's  life  set 


Better  Times. 

pretty. 
Blossom  Time. 

to  his  own  music. 

The  Chauve-Souris.     Century  Roof. — Third  program 
of   Balieff's  Russian  entertainers.     Excellent. 

The  Clinging  Vine.     Knickerbocker.- 
— Peggy  Wood  as  charming  as  ever. 
A    Fantastic    Fricassee.      Greenwich 
s>      ,  Village. — All   that   the   name   implies. 

The  Gingham  Girl.  Earl  Carroll. 
— Both  old  and  young  will  like  this. 

The  Lady  in  Ermine.  Ambassador. 
— A  musical  show  that  is  something  more 
than  vaudeville. 


Little  Nelly  Kelly.  Liberty. — A  first-class  Cohan 
production. 

Glory.     Vanderbilt. — Pleasing  music  and  dancing. 

Liza.  Sixty-third  St.  Theater. — A  tuneful,  jazzy, 
second  edition  of  "Shuffle  Along." 

Our  Nell.  Bayes. — A  mixture  of  "Way  Down  East" 
and  "East  Lynne." 


The  Bunch  and  Judy. 
The  Music  Box  Revue. 

•  look  at  and  listen  to. 

Sally,  Irene  and  Mary. 
of  New  York-Irish  manners. 

Up   She   Goes.     Playhouse. — Excellent. 

The    Ziegfeld    Follies.      New    Amsterdam. — Amus 
ing,  dazzling  and  distracting. 


Globe. — Jolly  and  youthful. 
Music   Box. — Very   easy   to 

Casino. — An  impudent  show 


The  Best  in  the  West 

A  list  of  last  year's  successes  now  on  tour 


Anna  Christie.     Worth   seeing. 

A  Bill  of  Divorcement.  Serious 
drama. 

Bimbo.     Good  music. 

Bulldog  Drummond.    Mystery  play. 

The   Circle.      Excellent   comedy. 

The  Demi  Virgin.  An  underdone 
farce.      Popular,   however. 

Dulcy.     Beauty   triumphs  over  brains. 

The  Fool.     Good  third  act. 

Fools  Errant.     Thrilling  situations. 

The  Gold  Diggers.  A  snappy 
comedy. 

Good  Morning  Dearie.  Excellent 
music. 

The  Hairy  Ape.     A  tragedy. 

Lawful  Larceny.     A  crook  show. 


Make    it    Snappy.      Entertaining. 

The  Merry  Widow.     Good. 

The  Monster.     Horrifying. 

Nice  People.  A  comedy  of  man- 
ners. 

Orange  Blossoms.     Alluring  music. 

Partners  Again.  Potash  and  Perl- 
mutter    stuff. 

Passing  Show  of  1921.     Smart. 

Red  Pepper.     Mclntyre  and  Heath. 

Shore  Leave.     With  Frances  Starr. 

Six  Cylinder  Love.  A  domestic 
comedy. 

The  Truth  About  Blayds.    Amusing. 

To  Love.     Excellent  Triangle  Play. 

The  White  Peacock.  Starred  by 
Petrova.  —F.  R.  S. 


H\ 


IA 


HI 


Page  Sixty-Six 


SulADOWLAND 


Introducing   Our   Contributors 


BURTON  RASCOE,  who  proves  in  his 
article,  A  Cantrip  of  Critics,  that 
Mencken  and  Sherman  have  been 
arguing  for  the  same  things  after  all,  began 
his  literary  career  as  a  newspaper  writer 
at  the  age  of  fourteen.  One  year  later  he 
founded  and  edited  a  literary  magazine, 
which  expired  at  the  end  of  three  months. 
While  at  the  University  he  was  campus 
correspondent  for  the  Chicago  Tribune  and 
remained  with  the  paper  after  graduation. 
He  is  now  literary  editor  of  the  New  York 
Tribune  and  writes  reviews  and  critical 
articles  for  various  periodicals,  as  well  as 
introductions  for  the  Borzoi  series  of  trans- 
lations. *  *  *  Edgar  Cahill  was  born 
in  Iceland,  north  of  the  Arctic  Circle.  For 
the  past  ten  months  he  has  been  in  Sweden, 
making  a  study  of  the  Industrial  Art  of 
the  country.  Mr.  Cahill  writes  equally  well 
on  both  literature  and  art,  and  is  a  regular 
contributor  to  the  International  Studio  and 
Scandinavian  Art  Reviciv.  *  *  *  Wynn 
Holcomb — known  to  us  as  "Wynn" — is  a 
nineteen-year-old  artist  who  has  been 
studying  and  traveling  in  Europe  for  a  year 
— and  sketching  occasionally  for  Shadoiv- 
land,  Le  Rire  and  Gargoyle.  While  in  Paris 
he   designed  posters  for  the  Folies  Bergere. 

*  *  *  Konrad  Bercovici  was  born  in 
Roumania,  and  is  of  Romany  descent.  He 
has  lived  and  labored  in  New  York  for 
several  years  and  has  contributed  to  the 
daily  press  and  magazines.  He  is  the 
author  of  Dust  of  Nezv  York,  a  series  of 
short  stories  and  sketches;  also  a  romance 
of  Gipsy  life  published  by  Boni  and  Live- 
right,  who  are  issuing  his  new  book, 
Murdo,  in  the  spring.  *  *  *  Leo  Kober, 
whose  tremendous  drawing  of  Bodansky 
appears  on  page  fifty-three,  is  from  Czecho- 
slovakia and  spent  his  childhood  in  the 
same  town  that  claims  Jeritza.  He  studied 
art  for  tGn  years  in  Munich  and  Paris,  re- 
ceiving many  awards.  After  serving  five 
years  in  the  war,  he  came  to  this  country, 
and  declares  that  he  never  shall  leave  it. 
"My  present  ambition,"  says  Mr.  Kober,  "is 
to  possess  just  enough  money  to  be  able  to 
live  without  working  for   the   newspapers." 

*  *  *  Thyra  Samter  Winslow  is  a  well- 
known  short-story  writer,  who  occasionally 
ceases  her  weaving  of  delightful  tales  about 
old  ladies  and  spinsters  and  everyday 
married  folks,  to  preach  a  sugar-coated 
sermon  to  the  younger  generation — such  as 
The  Passing  of  Finesse.  Her  first  book,  Pic- 
ture Frames,  will  come  from  the  Knopf 
press  early  in  the  spring.  *  *  *  Ken- 
neth Macgowan  has  been  dramatic  editor 
of  the  Boston  Transcript,  dramatic  and 
literary  editor  of  the  Philadelphia  Evening 
Ledger,  and  labor  editor  of  the  New  York 
Tribune.  He  is  now  one  of  the  editors  of 
the  Theatre  Arts  Magazine,  as  well  as 
dramatic  critic  of  the  New  York  Globe,  and 
writer  of  critical  articles  on  subjects  per- 
taining to  the  theater.  He  is  the  author  of 
The  Theatre  of  Tomorrozv,  and  Continental 
Stage-Craft — the  latter  in  collaboration  with 
Robert  Edmond  Jones.  *  *  *  Henry 
Osborne  Osgood  comes  of  old  Massachu- 
setts stock.  He  studied  music  in  Munich, 
and  was  for  three  years  repcti- 
teur  at  the  Royal  Opera  in  that 
city.  Returning  to  America  in 
1915,  he  became  associate  editor 
of  the  Musical  Courier.  He  is  the 
composer  of  several  popular 
songs  and  ballads,  and  Buttons 
are  about  to  issue  a  book  he  has 
written  for  children.  *  *  * 
Gordon  Bryant,  whose  perfect 
study  of  Paderewski  appears  on 
page  fifty-six,  is  a  young  musician 
as  well  as  portrait  painter.  He 
served  abroad  in  the  aviation 
branch  of  the  army  during  the 
war.  He  contributes  to  several 
of  the  leading  magazines.  *  *  * 
Benjamin  De  Casseres  was  for 
many  years  editor  of  El  Dios  in 
Mexico.     When  Diaz  made  it  too 


hot  for  him,  he  trotted  back  to  the  safer 
offices  of  the  New  York  Herald,  hand  in 
hand  with  Fornaro,  the  cartoonist.  Mr.  De 
Casseres'  book,  Chameleon,  has  recently 
been  published;  he  is  a  contributor  of 
critical  and  satirical  articles  to  newspapers 
and  magazines.  *  *  *  William  McPher- 
son  has  been  an  editorial  writer  on  the  New 
York  Tribune  for  many  years.  He  is  an 
authority  on  European  politics  and  has 
written  many  books  on  the  subject,  in- 
cluding A  Short  History  of  the  Great  War 
and  Strategy  of  the  Great  War;  also,  Tales 
of  War-Time  France.  He  has  translated 
hundreds  of  stories  from  the  French.  The 
Black  Dress,  which  appears  in  this  number, 
is  by  Jean  Moura,  one  of  the  younger 
French  writers.  *  *  *  Stuart  Davis  is  a 
director  of  the  Independent  Society  of 
Artists  and  an  illustrator  par  excellence.  He 
studied  at  the  Pennsylvania  Academy  of  Fine 
Arts;  also  under  Robert  Henri  and  Homer 
Boss.  *  *  *  George  William  Breck, 
better  known  as  "Bill  Breck,"  is  a  member 
of  one  of  the  oldest  Knickerbocker  families, 
his  direct  ancestor  coming  to  America  in 
1620.  He  studied  art  in  the  Chase  School, 
and  contributed  sketches  and  cartoons  to 
the  old  New  York  Press,  the  Sun,  Life,  and 
other  magazines.  He  served  in  France, 
during  the  war,  with  the  Twenty-seventh 
Division,  and  is  now  a  member  of  the 
Seventh  Regiment.  He  was  the  joint 
author  and  illustrator  with  Edward  Streeter 
of  the  immensely  popular  Dere  Mable  books. 
*  *  *  Pierre  Loving  contributes  articles 
on  literature  and  the  drama  to  various  pub- 
lications. He  is  now  editing  a  series  of 
twenty  plays,  and  his  own  play,  The  Stick- 
Up,  was  presented  last  February  by  the 
Provincetown  Players.  *  *  *  Melville 
Johnson  has  had  a  great  deal  of  newspaper 
experience  and  always  gives  an  odd  and 
unusual  point  of  view  to  an  article.  *  *  * 
Jerome  Hart  was  educated  at  Winchester 
and  Oxford.  He  studied  piano  under  Dann- 
reuther  and  composition  under  Prout.  He 
was  the  composer,  with  the  late  Sir  William 
Robinson,  of  the  ballad  opera  The  Nut-Brown 
Maid.  He  has  been  editor  of  the  London  Globe, 
music  critic  of  the  New  York  Herald,  and  is 
a  contributor  of  articles  to  the  Musical 
Quarterly,  the  Forum  and  other  magazines. 
He     served     in     the     South     African     and 


Ashanti     wars.     * 


August      Henkel, 


whose  amusing  sketches  appear  regularly 
in  this  magazine,  started  out  to  be  a  painter, 
having  studied  under  William  Chase,  and 
Thomas  Anschutz — whom  he  considers  the 
greatest  teacher  that  ever  lived.  However, 
he  found  that  painting  realistic  pictures 
buttered  no  bread,  so  temporarily  he  turned 
to  illustration,  in  which  field  he  is  making 
a  high  success.  *  *  *  Margaret  Breu- 
ning,  after  a  number  of  years  spent  in  study 
abroad,  was  appointed  art  editor  of  the 
New  York  Evening  Post.  She  also  has  done 
much  critical  and  general  literary  work  for 
various  magazines.  *  *  *  Eric  Ingre  is 
a  Swedish  writer,  who  has  made  a  special 
study  of  the  architecture  of  his  country. 
*  *  *  w,  Q.  Bowdoin  is  a  member  of 
the  reportorial  staff  of  the  Evening  World 
and  writes  chiefly  about  Art.  He 
spends  his  spare  time  collecting 
things  queer,  quaint  and  curious. 
One  of  the  most  curious  is  a 
mummified  hand  with  long,  pol- 
ished nails,  supposedly  that  of 
Potiphar's  wife;  perhaps  the 
most  interesting  things  are  his 
Baxter  prints  in  color;  this  print 
was  the  forerunner  of  the  litho- 
graph of  the  early  nineteenth 
century.  *  *  *  James  Wal- 
lace Gillies  is  considered  an  au- 
thority on  architectural  photo- 
graphy. *  *  *  Eldon  Kelley, 
who  illustrated  The  Passing  of 
Finesse,  really  wants  to  be  a 
serious  artist,  or  rather,  a  creator 
of  serious  art,  but  he  cant  control 
that  caricaturistic  slant  to  his  brush. 


Betty's  mother 
knew  why 

IT  was  Betty's  first  dip  into  social 
activity  since  she  returned  from 
boarding  school. 
Naturally,  she  was  thrilled  when 
the  invitation  came ;  and  even  more 
thrilled  when  she  discovered  in  a 
roundabout  way  that  Howard  was 
coming  back  from  school  for  the 
week-end  to  attend  the  same  party. 
Betty  and  Howard  had  been  just 
a  little  more  than  mere  good  friends 
during  their  high-school  days  at 
good  old  Ellsworth. 

Indeed,  lots  of  folks  thought  they 
were  much  more  than  good  friends. 
You  know  how.  a  small  town  will 
jump  at  conclusions. 
*  *  * 
Howard  never  looked  more  gorgeous  than 
he  did  that  evening.  And  Betty  found 
herself  more  fond  of  him  than  ever.  The 
whole  party  quickly  focused  itself  around 
her  anticipation  of  the  first  dance  with 
him. 

They  did  dance — but  only  once. 

And  all  the  rest  of  the  evening  Howard 
devoted  to  girls  who  were  really  much 
less  charming  than  she. 

Betty  went  home  broken-hearted.  She 
might  never  have  known  the  reason,  but 
her  mother,  quick  to  perceive,  and  cou- 
rageous enough  to  talk  frankly  with  her 
daughter,  knew  why  and  told  her. 

That's  the  insidious  thing  about  halitosis  (un- 
pleasant breath).  You,  yourself,  rarely  know 
when  you  have  it.  And  even  your  closest 
friends    won't   tell   you. 

Sometimes,  of  course,  halitosis  comes  from 
some  deep-seated  organic  disorder  that  requires 
professional  advice.  But  usually — and  fortu- 
nately— halitosis  is  only  a  local  condition  that 
yields  to  the  regular  use  of  Listerine  as  a 
mouth-wash    and   gargle. 

It  halts  food  fermentation  in  the  mouth  and 
leaves  the  breath  sweet,  fresh  and  clean.  So 
the  systematic  use  of  Listerine  this  way  puts 
you  on  the  safe  and  polite  side.  You  know 
your  breath  is  right.  Fastidious  people  every- 
where are  making  it  a  regular  part  of  their 
daily   toilet   routine. 

Your  druggist  will  supply  you  with  Listerine. 
He  sells  lots  of  it.  It  has  dozens  of  different 
uses  as  a  safe  antiseptic  and  has  been  trusted  as' 
such  fpr  half  a  century.  Read  the  interesting 
booklet  that  comes  with  every  bottle. — Lambert 
Pharmacol  Company,  Saint  Louis,    U.  S.  A. 


HALITOSIS 
use 
LISTERINE 


Page  Sixty-Seven 


Sliapqwland 


Q^vssic 

The  Picture  Book  De  Luxe  of  the 
Movie  World 

Oyez!  Oyez!  Oyez! 

Heywood  Broun 

The  gently  satirical  humorist. 
The  amusing  mocker  of  foibles. 
The   Dean  of   First-Nighters. 
The    film     reviewer    par    excellence. 
From  now  on  will  sign  his  name  to 
Iris  In 

David  Wark  Griffith 

The  former  poilus  are  all  hurrying 
to  Paris  to  see  Lillian  Gish  escape 
death  in  "The  Two  Orphans." 
"Sapristi,"  they  grumble,  "this  Mr. 
Griffith  takes  liberties  with  French 
history."  "It  is  Art,"  murmur  the 
intellectuals.  Yet,  in  the  face  of  this 
cable  news,  Mr.  Griffith  prepares  to 
take  his  "mist  photography"  to 
France.  It  is  said  this  picture  has 
lost  him  the  Legion  d'Honneur — and 
as  for  the  American  Academy  of 
Arts  and  Letters,  "Elect  a  motion 
picture  person !  How  extraordi- 
nary !"  Read  the  comment  on  the 
situation  by 

Stanton  Leeds 

Mary  Roberts  Rinehart 

Mrs.  Rinehart's  motto  is,  "have 
ideas,  and  work."  She  admits, 
however,  that  possibly  there  was 
some  luck  in  her  case.  Read  how 
she  sold  her  first  play.  What  was 
David  Belasco's  reaction? 
A  remarkably  interesting  and  human 
interview 

Hazel  Shelley 

Famous  Juliets 

With  Ethel  Barrymore  and  Jane 
Cowl  both  making  new  interpreta- 
tions of  this  famous  role,  great  in- 
terest is  being  shown  in  other 
famous  actresses  who  have  played  it. 
Read  the  entertaining  and  interesting 
article  by 

lerome  Hart 

A  picture  of  Rodolph  Valentino  and 
Winifred  Hudnut,  dancing,  and,  if 
rumor  is  correct,  they  will  soon  be 
in  Paris  under  the  Cochran  manage- 
ment. 

A  full-page  study  of  Barbara  de  la 
Marr. 

In 

The  Picture  Book  De  Luxe 
of  the  Movie  World 

Qassic 

for  MARCH 


Shaw,  D'Annunzio,  Tolstoi:  Diabolistic  Idealists 


(Continued  from  page  26) 


scenarios.  The  Artist  is  everything ;  humanity 
is  nothing.  He  would  throttle  a  race  as  one 
throttles  a  rat  to  extract  a  tragic  emotion  from 
its  heart  or  an  unknown  nuance  of  thought. 
All  his  novels,  plays  and  poems  are  exudations 
of  himself,  of  his  mystical  and  maniacal  frenzy 
in  the  presence  of  life  and  nature.  Emotion, 
action  and  desire  are  only  the  swollen  rivulets 
and  streams  that  swell  the  wild  waters  of  his 
imaginings.  Words  are  drained  of  their  thou- 
sand souls.  The  Italian  language  was  invented 
so  that  Gabriele  d'Annunzio  might  unlock  with 
it  the  subconscious  palaces  in  the  soul  of  his 
race.  The  tragedies  and  comedies  of  existence 
are  only  the  grammar  of  Art.  His  prose  reeks 
with  immemorial  odors,  pestilential  perfumes 
and  the  effluvium  of  the  dreams  of  the  un- 
create   and  the   dead. 

The  Earth  is  his  mother  and  the  Intellect  his 
redeemer.  There  are  poems  of  d'Annunzio 
wherein  one  hears  the  rush  and  the  roar  of 
sunquakes  and  the  furious  birth-chant  of 
forests  still  deep  in  the  womb  of  the  mystical 
Mother.  He  slakes  his  thirst  at  every  spring. 
He  writes  of  superb  incests  like  Shelley,  Ford 
or  Wagner.  Whatever  is,  is  sublime.  The 
planet,  the  stars,  the  universe  are  censers  that 
he,  Gabriele  the  Announcer,  swings  on  the 
golden  chains  of  his  genius  in  the  Cathedral  of 
Time.  There  is  only  one  sin  that  it  is  possible 
for  him  to  commit — lese  beaute.  He  has  never 
committed  it.  He  could  not  commit  it — for 
he  is  to  the  manner  born,  as  Shaw  and  Tolstoi 
were   not/ 

A  great  French  psychologist  said  of  d'An- 
nunzio that  "his  soul  was  the  soul  of  the  uni- 
verse !"  There  is  indeed  in  him  that  hypostatic 
union  of  object  and  subject  that  philosophers 
and  metaphysicians  write  about,  but  that  only 
the  supreme  artist,  dowered  with  the  diabolistic 
idealization  of  his  instincts,  ever  attains.  There 
are  gleams  of  the  superworld  about  such  men. 
They  rape  life  each  hour,  and  Life  knows  that 
each  assault  is  a  transfiguration  and  beautifica- 
tion  of  its  innate  nullity.  D'Annunzio  is  the 
Marquis  de  Sade  of  art. 

rPOLSTOI  was  the  very  antithesis  of 
■*•  d'Annunzio.  His  instinct-to-torture  worked 
in  an  entirely  different  direction.     Naturally  a 


great  artist,  an  aesthetic  seer,  he  allowed  him- 
self to  be  carried  away  by  his  submerged 
atavistic  tendency  toward  a  perverted  humani- 
tarianism  which  at  the  last  almost  completely 
dominated  him.  He  was  the  idealist  who  had 
turned  traitor  to  life.  Either  consciously  or 
unconsciously,  Tolstoi  the  prophet  and  an- 
nouncer was  a  rank  poseur.  It  is  probable  he 
was  nauseatingly  sincere.  Lacking  the  brains 
of  Buddha  and  the  militant  strength  of  Christ, 
he  became  a  social  and  religious  reformer,  a 
pamphlet  peddler,  a  fanatic  of  the  street  cor- 
ners, capable  of  every  form  of  diabolistic  re- 
pression in  the  name  of  "the  way,  the  truth 
and  the  life."  And  he  had  the  smugness  of 
auto-divinity. 

He  hated  the  beautiful,  the  ornamental  and 
the  amusing  with  the  same  passion  that,  lifting 
the  mask,  we  find  in  George  Bernard  Shaw. 
The  latter  saw  in  Wagner  a  socialist,  nothing 
more ;  Tolstoi  saw  in  God  something  of  a 
Schlatter  or  a  Dowie.  The  demon  of  morality 
destroyed  his  brains  and  poisoned  his  art.  His 
demon-like  frenzy  before  the  flesh  and  the 
devil — and  may  their  kingdoms  never  be  les- 
sened ! — would  have  made  Mephistopheles 
serious.  His  constantly  reiterated  love  for  his 
fellow-creatures  was  the  decoy-mask  that  his 
insatiable  will-to-power  wore.  Had  he  ever 
had  mankind  in  his  keeping  for  a  single  year, 
St.  Bartholomew  night  would  have  been 
enacted  twenty  times  over  and  Salem  and 
Tyburn  and  Toledo  and  Cordova  would  have 
come  back  reinvested  with  their  ancient  glory — ■ 
all  in  the  name  of  "social  purity"  and  the 
"spiritualization  of  humanity."  For  there  is  no 
hell  like  the  heart  of  a  world-reformer,  nothing 
so  neronic  as  his  skull,  nothing  so  menacing  to 
the  world,  the  flesh  and  free  thought.  Tolstoi 
was  an  impotent  Lenin. 

Idealists  are  the  threat  and  the  glory  of  the 
race.  Without  them  no  drama,  no  comedy,  no 
history,  no  Devil,  no  God.  Every  ideal  is  evil 
and  every  ideal  is  good,  because  evil  and  good 
are  one  and  the  same  thing.  We  are  the  guests 
of  Maya,  the  god  of  all  ideals  and  idealists. 
We  live  and  move  and  have  our  being  in 
Illusion,  the  heart  of  which  is  an  unarithmetical 
and  undecipherable  Smile. 


in  ii  in  in  in  i  in  in  mi  in  iiiiii  in  i  in  u  i  mi  i  iuii  n  1 1  [i  11  ;n  1 11 1  ii  i  in  ii  1 11 1 


A  Memorable  Rehearsal 


(Continued  from  page  19) 


conductor.  I  do  not  recall  whether  or  not 
Richard  Strauss  himself  was  in  the  audience, 
but  he  had  been  present  at  many  of  the  re- 
hearsals. Being  a  repetiteur  at  the  Munich 
Opera  at  that  time,  I  had  seen  most  of  them 
myself. 

For  a  musician  there  can  hardly  be  anything 
more  interesting  than  to  watch  the  growth  and 
development  of  a  new  work  of  the  size  and 
importance  of  Der  Rosenkavalier,  as  the  crea- 
tions of  author  and  composer  take  on  form  and 
color  under  the  expert  direction  of  such  men  as 
Felix  Mottl,  Professor  Anton  von  Fuchs,  the 
stage  manager,  and  above  all  with  the  super- 
vision of  Richard   Strauss  himself. 

Strauss  used  to  sit  in  the  front  row,  out  in 
the  darkened  auditorium,  close  behind  Mottl, 
who  would  often  turn  to  consult  him  on  ques- 
tions of  tempi,  nuances,  and  so  forth. 

One  morning,  at  the  end  of  a  rehearsal, 
Strauss  climbed  over  the  rail  down  into 
the  pit,  exchanging  places  with  Mottl,  who  sat 
by  and  listened  while  he  took  the  orchestra  thru 
a  dozen  different  passages  of  the  score  in  which 
he  wished  to  make  his  meaning  clear. 

The  vocal  scores  were  late  in  coming  from 
the  printer.  The  singers  were  furnished  at 
first   with   manuscript   parts    for    the   first   two 


acts  only,  and  began  rehearsing  these  before 
they  had  any  knowledge  of  the  third  act.  So 
one  day  Strauss  gathered  them  all  into  one  of 
the  rehearsal  rooms  and,  sitting  down  at  the 
piano,  went  thru  the  entire  act  for  them,  de- 
scribing the  situations  and  playing  snatches  of 
the  music  which  he  had  provided  to  fit  them. 

Imagine  what  an  impression  those  delightful 
Rosenkavalier  waltzes  made,  heard  for  the  first 
time  and  played  by  the  hand  that  wrote  them, 
with  a  running  commentary  on  the  action  as 
he  played !  The  famous  trio  brought  an  en- 
thusiastic round  of  applause  from  the  artists, 
and  the  Mozart-like  duet  between  Octavian  and 
Sophie  was  hardly  less  admired. 

And  it  was  after  one  of  these  rehearsals, 
across  the  way  from  the  opera  house,  in  the 
old  Franziskaner  restaurant,  that  I  heard  Rich- 
ard Strauss,  a  glass  of  the  renowned  Marzen- 
bier  in  front  of  him,  deliver  to  an  attentive 
tableful  the  famous  pronunciamento  upon  his 
own   art : 

"Das  Skatspielen  ist  dock  schoner  als  das 
Comp  onier  en!" 

Which  is  very  easy  German  to  translate, 
even  if  you  are  not  familiar  with  the  language. 
All  you  really  need  to  know  is  that  "Skat"  is 
a  favorite  card  game  of  Germans  in  general — 
and  of  Richard  in  particular. 


Page  Sixty-Eight 


SuADOWtTANO 


Ostentation  versus  Art 

(Continued  from  page  15) 

them,  and  they  do  not  seem  to  patronize  it  as 
readily  as  they  do  the  poorer  tho  more  expensive 
and  elaborate  kind — if  that  be  so,  I  ask,  how 
can  we  ever  hope  they  will  learn  to  appreciate 
good  from  bad  if  the  bad  is  dished  up  to  them 
most  of  the  time?  It  requires  no  more 
persistency  to  educate  the  public  in  this  ap- 
preciation than  it  does  to  make  them  under- 
stand that  the  best  books  are  not  always  be- 
tween expensive  covers  and  printed  upon  ex- 
pensive   paper. 

But  perhaps  the  day  for  the  artistic  motion 
picture  is  not  far  off,  for  already  in  certain 
companies  one  finds  young  men  who,  in  their 
own  way,  altho  as  yet  rather  unsuccessfully, 
are  trying  to  accomplish  what  the  others  had 
not  even  set  out  to  do.  As  in  other  arts, 
revolutionary  youth  is  striking  out  for  new 
means  and  new  forms.  The  Caligari  picture 
has  shown  the  way. 

I  have  sat  at  table  with  a  good  many  of  these 
younger  spirits,  at  clubs  and  in  private  homes, 
where  moving  pictures  were  discussed  with  the 
same  earnestness  as  I  have  heard  revolutionary 
young  artists  discuss  their  art  in  the  creative 
centers  of  Europe  and  America. 

This  revolutionary  youth  as  yet  dreams  more 
than  it  acts — but  there  is  no  reason  on  earth 
why  we  should  not  soon  have  moving  pictures 
produced  by  intelligent  people  for  intelligent 
people.  They  could  at  first  be  reproduced  in 
small  theaters,  since  one  cannot  deny  that  the 
small  group  generally  is  the  forerunner  of 
things  newly  born.  This  has  been  particularly 
true  of  the  speaking  stage.  American  drama 
had  little  to  be  proud  of  before  the  advent  of 
the  Little  Theatre.  People  laughed  and  poked 
fun  at  first  at  the  Washington  Square  Players, 
at  the  Theatre  Guild,  the  Provincetown  Players, 
and  all  the  other  small  theaters  now  scattered 
over  the  country.  But  it  is  in  the  bosom  of 
these  small  theaters  that  most  things  of  dra- 
matic value  have  been  nurtured.  The  whole 
stage  is  now  being  impregnated  by  them,  and 
today,  after  only  a  few  years  of  struggle, 
plays  with  a  real  literary  value  are  being 
recognized  at  their  true  worth. 

A  similar  improvement  in  the  public  taste  in 
motion  pictures  must  likewise  be  brought 
about.  In  its  present  state  even  the  best  movie 
is  more  or  less  crude.  For  a  work  of  art 
should  be  virtually  the  production  of  but  one 
man,  everybody  else,  tho  quite  important  in  the 
scheme  merely  co-operating  with  the  author. 

It  is  only  then  perhaps  that  the  author  will 
care  to  consider  himself  a  part  of  the  moving 
picture  world.  He  will  then  watch  the  transfer 
of  his  story  to  the  silver  sheet  as  jealously  as 
he  watches  the  translation  of  a  story  of  his 
into  a  foreign  language.  And  he  will  permit 
just  as  few  liberties.  The  directors  and  stars 
and  their  satellites,  as  well  as  the  lesser 
luminaries,  will  take  their  proper  place,  as  in- 
terpreters, and  not  as  central  figures. 

How  would  a  book  finally  appear  before  the 
public  if,  after  the  author  had  submitted  his 
manuscript  to  the  publisher,  the  publisher  to 
the  proof-reader,  and  the  proof-reader  to  the 
typesetter,  each  in  his  turn  made  such  changes 
as  suited  his  individual  taste  and  purpose?  Or 
if  a  sculptor  allowed  his  caster  to  "improve" 
his  masterpiece  according  to  the  views  of  the 
latter?  Or,  a  better  parallel  still,  if  the  fore- 
man of  a  gang  of  workingmen  made  changes 
in  the  construction  of  a  bridge,  disregarding  the 
drawings  and  designs  of  the  architect  and 
engineer? 

No  work  of  art  can  be  measured  by  the 
amount  of  material  that  its  production  costs. 
Were  we  to  measure  art  by  such  values,  then 
the  paintings  of  Da  Vinci  and  Raphael  and 
Rembrandt  and  Murillo  are  worth  far  less  than 
the  cost  of  their  canvas  and  frames. 

Every  new  departure  from  the  old  has  struck 
terror,  and  then  contempt  to  cover  terror,  in 
the  hearts  of  those  who  stand  for  the  Estab- 
lished Order.  But  Revolutionary  Youth,  like 
a  laughing  baby,  does  not  care.  On  his  young 
hands  and  knees,  master  that  he  is,  and  fear- 
less, he  creeps  over  every  obstacle  in  his  path, 
thru  the  _  years,  until,  strong  and  upright,  he 
surveys  it  all  with  a  triumphant  smile  and 
looks  back  wonderingly  at  his  early  struggles 
to  attain  his  purpose. 


Investors ! 


Don't  compromise  with  Safety! 

Why  be  satisfied  with  less  than  absolute  protec- 
tion when 

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offered  by  the   United    States   Government  in 
convenient  denominations  are  easily  available  at 

Banks  and  Post  Offices 


United  States  Government  Savings  System 

Second   Federal  Reserve  District 

97  Maiden  Lane  New  York  City 


Beauty  Secrets  for  Everywoman 

Buy  the  March  "Beauty  "  on  the  neius-stands  February  eighth. 


A  Woman  Looks  Her  Worst  in  Summer 

Coarse j  red  skin  against  soft,  filmy  material.  A  discolored  and  wrinkled  neck,  in  a 
low-cut  frock.  Scrawny  arms  emerging  from  short  sleeves.  Rough,  red  hands  not 
concealed  by  gloves.     Dull,  lifeless  hair  stringing  against  a  heat-damp  face. 


Summer,  you  say,  tuhy  that  is  months  away.  Yes,  but  the  day  of  instantaneous  mir- 
acles is  past.  If  you  would  have  a  creamy  skin,  smooth,  delightful  arms,  white  well- 
kept  hands,  and  hair  that  has  the  gloss  that  comes  from  perfect  health  and  care,  now  is 
the  time  to  begin  your  campaign — and  when  June  and  its  roses  arrive,  you  will  have 
the  freshness  and  beauty  that  goes  with  the  summer  landscape. 

i i 

"Beauty,"  the  magazine,  written  and  edited  by  experts  on  feminine  loveliness,  is  the 
guide  to  follow  if  you  would  achieve  these  results. 


Beautiful  Hands 


Features  For  March 

Health's  Happy  Highway 

Types  of  the  Female  Form 

Nature  Takes  Care  of  a  Lot  of  Things 

My  Lady's  Boudoir  Four  Pages  of  Fashions 


Questions  and  Answers 


Shopping  Service 


<fi««\ltv 


Beauty  Secrets  for  Everywoman 

Buy  the  March  "Beauty,"  on  the  news-stands  February  eighth. 


Page  Sixty-Nine 


SLlADOWlAND 


FURNESS- 


BERMUDA 


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See  the  MARCH  Issue  of 

Smadowlano 

for  an  Article  by 

Victor  Herbert 

"THE  DECLINE  OF  LIGHT  OPERA" 

In  which  ihe  famous  American  Composer  dis- 
cusses the  reasons  for  the  temporary  lack  of 
popularity,  both  in  America  and  on  the  European 
Continent,  of  a  class  of  opera  which  has  served 
to  delight  millions,  and  which  he  believes  is 
destined  to  do  so  again  if  properly  presented  and 
encouraged. 

Mr.  Herbert  has  much  which  is  interesting  to  say 
about  his  own  work,  that  of  Franz  Lehar  and 
other  composers  of  light  opera,  and  his  article  is 
particularly   informative  and  timely. 


THE     PRISONER 


Ford's  Foio  Studios 


Copurioltt  11/21 

And  there  will  I  keep  you  forever. 

Yes,   forever  and  a  day. 
Till  the  walls  shall  crumble  to  ruin. 
And  moulder  in  dust  away? 

From  Longfellow's  poem  "The  Children's  Hour,"  we  offer  a 
most  unique  and  beautiful  art  study.  A  wonderfully  beautiful 
girl— A  PRISONElt!  Why?  For  What?  By  Whom?  Could  one 
so  beautiful  be  guilty  of  crime?  II  grips  you.  You'll  wonder. 
You'll  study  it.  You'll  talk  about  it,  and  whether  you  like  or 
dislike  art,  you  will  realize  there  is  something  more  Inspiring, 
more  pleasing  and  more  beautiful  than  any  prisoner  you  ever 
saw  before.  It  is  a  treasure  of  loveliness  and  a  very  valuable 
addition  to  any  room,  din,  library,  or  club.  It  is  guaranteed  to 
be  perfect  in  workmanship  and  no  sale  is  completed  till  you  are 
satisfied.  Our  framed  pictures  are  unsurpassable.  You  will  do 
well  to  order  your  picture  framed.  Your  copy  finished  in  choice 
oil  colors  will  be  sent  upon  receipt  of  the  sum  given  below  in 
anv  form  except  stamps. 

Size  Unm'td  Copies  M't'd  Copies  Fr'md  Pict's 

GXIO  $     .75  S1.00  $3.25 

10X17  1.70  1-95  4.75 

Send  10c  for  Illustrated  Supplement 

FORD'S    FOTO  STUDIOS  ...         ELLENSBURG,  WASH. 


The  Passing  of  Finesse 

(Continued  from  page  16) 


subtle  about  it — and  a  thousand  times  more 
clever.  They  married.  We  needn't  lift  our 
sunburned  chins  at  them.  The  modern  girl 
spends  hours  in  an  office — the  old-fashioned 
girl  sat  at  home,  resting,  so  as  to  look  her  best 
when  her  suitor  arrived. 

To  be  truthful,  unless  we  actually  are  gifted, 
none  of  us  likes  to  work,  really.  It's  all  right 
for  men,  of  course — they've  always  done  it. 
Women  have  assumed  the  burden  thru  stupidity 
— because  they  have  forgotten  or  have  never 
learned  the  wiles  of  catching  a  man. 

Do  you  remember  the  Curly-Locks  of  the 
Mother  Goose  rhyme?     It  went,  I  believe: 

Curly-Locks,    Curly-Locks,    wilt    thou    be 
mine? 

Thou  shalt  not  wash  dishes  nor  yet  feed  the 
swine; 

But  sit  on  a  cushion  and  sezv  a  fine  seam, 

And    feast   upon   strawberries,    sugar    and 
cream. 

Ask  any  young  girl.  Isn't  that  an  ideal  situ- 
ation ?  She  may  like  to  add  theaters  and  choco- 
lates to  the  cushion  and  the  cream,  but  surely 
a  man  as  reasonable  as  curly-Locks's  lover 
could  be  persuaded  to  add  those  things,  too.  It 
is  pretty  certain  that  Curly-Locks's  curls  weren't 
naturally  curly,  but  it's  even  more  certain  that 
she  didn't  let  her  young  man  see  her  with  her 
hair  done  up  in  curlers,  or  hear  her  talk  about 
a  "permanent."  She  was  clever  enough  to  ap- 
pear  alluring. 

Have  you  heard  of  the  glass  egg  of  the 
Eighteenth  Century?  It  is  a  perfect  index  to 
the  finesse  of  the  ladies  of  those  days.  Just 
before  a  suitor  arrived,  a  servant  handed  the 
lady  a  glass  egg.  Can  you  guess  the  use  of 
it?  The  glass  egg  was  to  be  held  in  the  hands 
of  the  fair  one  to  keep  her  palms  cool,  so  that, 
when  the  suitor  was  ushered  in  and  reached 
for  the  lily-white  hand,  it  would  be  cool  and 
pleasant.  No  wonder  he  kissed  it !  Hands  of 
today  might  be  kissed — if  finesse  were  not  for- 
gotten. 

What  has  become  of  the  chaperon?  She  was 
the  cleverest  tool  in  the  whole  scheme  of  pro- 
and  pre-matrimonial  finesse.  You  could  see 
your  lady  fair  only  with  a  chaperon  present. 
You  might  squeeze  her  hand — or  steal  a  kiss, 
if  you  were  bold  enough — only  behind  the  back 
of  the  chaperon.  How  alluring  the  girl  seemed, 
thus  hedged  round  with  protection !  How  a 
young  man  wanted  to  attain  her — this  desirable, 
faraway  bit  of  illusive  charm.  Today,  when 
kisses  can  be  taken  any  time ■ 

In  Sixteenth-Century  France  there  were 
patches  for  the  face  and  "by  the  advent  of 
the  Regency,  society  recognized  seven  distinct 
kinds."  A  tiny  patch  on  the  face,  cleverly  cut, 
can  be  quite  an  allure.  There  were  masks, 
too,  of  black  silk,  and  the  wearers  made  a  great 
pretense,  at  dances,  of  not  recognizing  one  an- 
other. A  century  later,  in  France,  ladies  wore 
a  long  curled  lock  of  hair  called,  without  con- 


cealment, a  "heart-breaker."  They  lived  up  to 
their  name,  those  curls.  With  another  genera- 
tion tiny  shoes  came  in  style.  These  made 
walking  difficult,  and  consequently  the  girls 
seemed  fragile  and  helpless.  Then  tiny  parasols 
appeared,  that  could  be  twirled  in  front  of  the 
face,  or  away  from  the  face,  at  will.  Flirting 
became  a  real  art. 

Girls  were  so  helpless — in  other  days.  How 
much  more  efficient  we  are  today — or  are  we? 
We  can  take  long  walks — but  men  seemed  to 
prefer  the  girl  who  could  walk  only  a  short 
distance,  and  who  took  tiny  steps.  We  dont 
faint.  But  wouldn't  we  be  a  bit  more  alluring 
if  we  possessed  a  few  weak  characteristics? 
We  are  brilliant — yes,  but  I  have  heard  culti- 
vated men  say  that  they  would  never  marry 
women  who  knew  more  than  they  did.  Women 
of  other  days  may  or  may  not  have  known 
worldly  things — they  were  clever  enough  to  con- 
ceal their  knowledge.  It  may  not  be  the  thing 
to  do,  in  this  frank  day,  but  it  proved  an  ex- 
cellent matrimonial  bait  then,  and  that's  what 
we're  talking  about. 

Modern  girls  dont  drop  handkerchiefs.  Girls 
did,  in  the  Eighteenth  Century.  Whisper  it ! 
— they  carried  two  handkerchiefs.  One  was 
carefully  concealed  in  the  bodice.  The  other, 
fresh  and  perfumed  and  fragile,  was  to  be 
dropped  so  that  the  young  man  might  kneel  to 
recover  it — and  present  it  to  his  lady  love — 
or  keep  it  under  his  pillow,  to  dream  on.  The 
girls  of  today  dont  bother  about  a  double  set 
of  handkerchiefs ! 

Men  like  to  do  things  for  girls.  The  beau 
of  another  century  carried  in  his  pocket  "candied 
fruit  in  a  gilded  box,  chocolate,  pistachio,  chest- 
nuts and — asafcetida,  scented,  for  a  lady  in  a 
hysterical  attack."  That's  thought  fulness  for 
you !  It  was  what  the  lady  demanded  as  her 
right — and  received.  The  beau  of  today  grum- 
bles at  taxi  fares.     Is  he  altogether  at  fault? 

We  have  forgotten  the  language  of  fans  and 
flowers,  if  we  ever  have  heard  of  them.  We  do 
not  know  how  to  faint  nor  how  to  look  pale 
and  interesting  and  helpless.  We  have  never 
learned  how  to  defer  to  and  flatter  the  male. 
We  brag  of  our  boldness  and  our  frankness 
and  our  bad  manners — our  modernity — and  yet 
we  complain  because  men  dont  want  to  get 
married.  If  we  cant  put  two  and  two  together, 
perhaps  we  can  learn  to  add  one  and  one. 

If  we  women  will  be  willing  to  trade  just  a  bit 
of  our  cleverness  at  expose  for  a  cleverness  in 
concealment,  slang  for  daintiness,  cigarets  for 
delicate  skill  and  subtlety,  we  yet  may  be  able 
to  put  man  back  in  his  place.  Man  is  only  a 
simple  creature,  after  all.  He  wants  to  wor- 
ship and  protect  and  adore — and  we,  in  truth, 
want  to  be  adored  and  worshipped.  Let  us 
take  up,  quickly,  the  finesse  that  is  so  rapidly 
passing,  so  that  we,  while  the  men  work  for 
us,  may  sit  upon  cushions  and  dine  on  cream 
and  strawberries. 


1 1 II I II  III  III!  MUM  III  III Illlllllllllllllllllll UN I I 

Jonas  Lie :  Poet  of  Today 

(Continued  from  page  11) 


studied  nights  at  the  Academy  of  Design  and 
at  the  Art  Students'  League,  and  began  exhibit- 
ing while  still  a  student.  One  of  his  pictures, 
painted  while  he  was  studying  at  the  Academy 
of  Design,  was  accepted  and  hung  by  the  Na- 
tional Academy.  From  that  day  to  this  Jonas 
Lie  has  been  a  constant  and  distinguished  con- 
tributor to  American  art  exhibitions. 

But  success  is  a  coy  creature.  The  Tipperary 
trail  to  economic  success  is  a  long  one  for  any 
artist,  and  for  a  number  of  years  Jonas  Lie 
supported  himself  by  working  as  a  designer  in 
a  cotton-print  factory.  The  Scandinavians  have 
discovered  that  it  is  no  disgrace  for  a  painter 
to  work  at  making  ordinary  things  beautiful, 
and,  consequently,  it  is  not  uncommon  to  find 
leading  artists  among  them  devoting  themselves 
to  industrial  art.  His  first  big  success  came  with 
the  exhibition  of  his   Panama  Canal  paintings. 

Jonas  Lie  is  a  sensitive  recorder  of  nature's 
various  moods,  and  of  the  dreams  and  deeds 
of  man.    He  loves  nature  in  all  her  garbs,  but 


best  in  that  of  winter.  We  have  spoken  of 
his  handling  of  snow.  His  way  of  suggesting 
wind  is  equally  good.  His  winds  are  real — 
they  sweep  across  his  canvases  with  a  wintry 
force.  Silent  Stream  depicts  one  of  the  softer 
moods  of  winter.  It  is  full  of  the  loveliness  of 
snow,  snow  that  is  a  white  caress  upon  the 
stream  and  the  fir  trees  that  live  their  vivid 
life  thru  winter's  rigors,  reflecting  their  endur- 
ing greenness   in  the  silent  waters. 

Lie  has  become  more  of  a  colorist  with  the 
years.  His  grey  things  belong  to  an_  early 
period.  Now  we  find  him  interested  in  the 
vibrant  harmonies  of  flower  studies,  in  the  ripe 
colors  of  autumn,  and  in  the  brighter  moods 
of  winter.  His  canvases  at  the  recent  Academy 
show  were  an  interesting  composition,  heaving 
forms  of  hills  covered  with  the  blue-white  of 
snow  and  touched  by  the  reminiscent  blue  of 
distance,  roads  winding  and  bending  backward, 
and  the  vertical  note  of  stripped  birches  against 
the  rolling  horizontal   terraces  of  hills. 


Page  Seventy 


SuiADQWLAND 


Taos  the  Brilliant 

(Continued  from  page  45) 


However,  if  the  Bill  becomes  effective,  it 
means,  soon  or  late,  the  disintegration  of  the 
reservations,  the  dying  out  of  tribal  customs 
and  the  scattering  of  the  redmen  into  lands  that 
are  strange  to  them.  Whereas,  now  the  Indians 
take  pride  in  tilling  the  land  because  it  is  theirs, 
and  they  govern  it  wisely  and  well.  If  there 
is  a  slacker  in  their  midst,  they  punish  him  be- 
cause he  disgraces  their  tribe ;  they  are  self- 
supporting  and  a  peaceful,  agricultural  people. 
But  once  let  their  governing  be  taken  from 
Federal  jurisdiction  and  become  mixed  up  in 
State  politics — what  will  happen?  They  will 
become  lazy,  having  no  occupation,  for  they  will 
have  no  land ;  they  will  live  on  Government 
bounty,  beg  from  the  tourists,  and  gradually 
their  tribes  will  die  off  as  all  races  do  which 
have  no  work,  and  so  add  to  our  "century  of 
dishonor,"  as  Helen  Hunt  Jackson  termed  our 
dealings  with  the  redmen. 

Therefore,  members  of  the  Taos  Society  of 
Artists  are  worried,  for  they  have  made  the 
vicinity  around  Taos  and  Sante  Fe  so  popular 
that  hundreds  of  other  artists  are  to  be  found 
there  every  summer,  and  while  the  luxurious 
and  brilliant  vegetation  would  remain,  and  the 
valley  would  stretch  off  to  the  mountains,  de- 
ceptively near  in  that  clear  and  sun-washed  air, 
and  the  Mexicans  would  still  knife  each  other — 
even  a  "bad-man"  full  of  forbidden  "toquilla" 
might  occasionally  "shoot  up"  the  town — tho 
these  would  remain,  with  the  passing  of  the 
Indians  the  charm  would  be  gone,  and  the  art- 
ists are  rather  fond  of  the  Indians. 

Also,  what  would  the  judges  of  the  various 
art  exhibits  do  if  there  were  no  entries  from 
the  Taos  Society  ?  For  consistently,  persistently 
and  worthily  the  members  of  this  Society  walk 
away  every  year  with  several  prizes  tucked  un- 
der their  blankets. 

E.  Irving  Couse  now  has  to  file  his  National 
Academy  prizes,  and  in  1921,  when  he  was 
awarded  the  Walter  Lippincot  prize  at  the  Penn- 
sylvania Academy,  Mr.  Lippincot  reserved  the 
right  to  buy  the  prize-winning  picture,  Chant 
to  the  Rain  Gods.  In  the  same  year  Ernest 
Blumenschein  "lifted"  the  Altman  prize  from 
the  National  Academy — space  forbids  the  listing 
of  his  other  awards.  This  year  Walter  Ufer, 
President  of   the   Society,   was    so   inspired  by 


the  climate  that  he  not  only  had  entries  in  the 
regular  exhibition,  but  coincidently  had  a  show- 
ing of  his  own  in  New  York.  John  Sloan  and 
Robert  Henri,  both  of  whom  spent  all  summer 
and  fall  in  and  around  Taos  and  Sante  Fe,  are 
later  going  to  hold  exhibitions:  Mr.  Sloan  at 
Kraushaar's  in  New  York,  and  Mr.  Henri  at 
the   Corcoran  Gallery   in  Washington. 

Perhaps  J.  Henry  Sharp  might  be  called  the 
Indian  expert  of  the  Society,  for,  after  spend- 
ing ten  years  as  an  instructor  at  the  Cincinnati 
Art  Museum,  he  resigned  to  devote  his  time 
to  the  Indian  country.  In  winter  he  is  at  the 
Crow  Agency  in  Montana,  near  Custer's  Bat- 
tlefield, and  in  summer  he  lives  at  Taos,  oppo- 
site Kit  Carson's  old  home.  The  Smithsonian 
Institute  bought  eleven  of  his  portraits  of  fa- 
mous Indians,  and  Mrs.  Phoebe  Hearst  (Uni- 
versity of  California)  purchased  one  hundred 
and  fifty-five  portraits,  covering  the  famous 
Indians  of  all  the  various  tribes. 

It  is  quite  impossible  to  give  an  artistic  his- 
tory of  all  the  members  of  this  Society,  but 
practically  every  museum  in  the  United  States, 
as  well  as  many  foreign  ones,  have  representa- 
tive work  of  one  or  more  of  the  members,  in- 
cluding the  Metropolitan  Museum  in  New  York, 
the  Corcoran  Gallery  in  Washington,  the  Penn- 
sylvania Academy  of  Fine  Arts,  the  Detroit 
Museum  of  Fine  Arts,  the  Los  Angeles  Art 
Museum,  the  Dallas  Museum,  the  National 
Museum  at  Sydney,  New  Zealand,  Bibliotheque 
d'Art  et  d'Archeologie,  Paris,  National  Museum 
at  Christiana,  Norway,  the  National  Museum, 
Stockholm,  Sweden  (this  museum  contains  the 
work  of  Birger  Sandzen,  who  studied  under  the 
great  Swedish  artist  Anders  Zorn),  and  this 
list  is  very  incomplete. 

The  members  of  the  Society  have  exhibited 
practically  everywhere  from  the  Paris  Salon 
to  the  Salamagundi  Club.  It  is  a  wonderfully 
interesting  organization  and  its  members  are 
putting  on  canvas  the  customs  and  tribal  rites 
of  a  picturesque  race,  which  in  a  hundred  or 
more  years  may  be  so  sadly  depleted  or  scat- 
tered that  these  rites  may  be  but  memories. 

It  might  be  well  to  add,  however,  that  the 
members  of  this  Society  paint  other  subjects 
beside  Indians. 


uiimimnmiiiiiiiMMiiiiiiiiiiiimiuiiiiiiiiiMMimiiiiMmiiiimiii 


The  Art  of  the  Silversmith 

(Continued  from  page  65) 


workshop,  and  his  clasps  and  brooches  be- 
came a  fashion.  He  was  obliged,  naturally, 
to  begin  with  ornaments  that  would  find  a 
ready  market,  but  he  also  began  to  work  on 
table  silver  and  exhibited  for  several  years 
until  he  also  won  public  recognition  for  this 
production.  He  exhibited  in  Germany  in  1905, 
in  Brussels  in  1910,  receiving  the  gold  medal 
of  the  World  Exhibition,  and  since  then  has 
become  known  all  over  Europe.  Some  of  his 
pieces  have  received  the  distinction  of  being 
placed  in  the  Louvre — a  rare  experience  for  an 
artist  during  his  lifetime.  A  regular  shop  for 
his  silverware  has  been  opened  in  Paris  in  the 
Rue  St.  Honore,  for  he  has  indeed  taken  the 
artistic  capital  of  the  world  by  storm. 

Possibly  one  of  the  greatest  tributes  to  his 
artistic  achievement  came  last  year  during  his 
exhibition  in  London.  The  English  people 
have  always  prided  themselves  on  their  beauti- 
ful silverware  and  considered  themselves 
master  craftsmen  in  this  work.    But  with  ready 


generosity  and  quick  appreciation  they  awarded 
the  palm  to  Jensen,  gladly  acknowledging  his 
genius.  Delight  in  beautiful  production  took  the 
place  of  any  petty  local  pride,  and  glowing  trib- 
utes were  paid  to  the  work  of  the  Danish  artist. 
Jensen  long  ago  outgrew  the  little  room 
where  he  worked  alone  and  put  down  his  tools 
to  wait  on  his  customers.  He  has  also  en- 
larged his  first  conceptions  and  grown  in 
power  and  artistic  expression.  There  has 
been  no  sacrifice  of  originality  or  quality, 
rather  his  design  has  grown  finer  and  nobler 
and  his  execution  more  sure.  As  help  was 
needed  to  carry  out  the  orders  that  came  to 
him,  it  was  found  necessary  to  train  workers 
in  a  sort  of  school  before  such  work  could  be 
entrusted  to  them.  His  staff  has  grown,  but 
the  ideals  have  not  deteriorated.  It  is  hand- 
work of  the  highest  type,  working  out  pure 
and  simple  form  with  exquisite  proportions  and 
beauty  of  ornament  or  it  would  not  be  a 
Jensen  product. 


Int.  > 

SPORTWEAR  AND 
STREET  APPAREL  FOR  WOMEN 


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est Costumes  for  Southern  Winter  Wear 
— Loveliest  Fabrics  transformed  into 
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Write  for  Illustrations 
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Bet.    53rd    and    54th    Streets 


A  Few  of  the  Contributors  to  the  March 

Shadowund 

William   McFee  Kenneth    Macgowan 

Victor  Herbert  Burton  Rascoe 

Thomas    Craven  Jerome   Hart 

Benjamin    De    Casseres        R.   le   Clerc  Phillips 
llenkel   and    W ynn 


SuiADQWLAND 


ShlADOWLAND 


for  MARCH 


Includes: 

American  Writers 

and 
European  Readers 

An  excellent  analysis  of  the 
reasons  underlying  the 
apathy  of  European  readers 
toward  American  books.  The 
reasons  may  surprise  you,  but 
R.  le  Clerc  Phillips  knows 
whereof  he  writes. 

Charles  Sheeler 

An  exposition  of  his  work  by 
Thomas  Craven,  in  which 
the  influence  a  camera  can 
exert  on  the  work  of  an  artist 
is  interestingly  depicted. 

Cartagina  Eroica 

" — you  behold  a  faint  amber 
radiance,  a  blur  of  towers  and 
a  touch  of  gold,  against  the 
luminous  azure  of  the  hori- 
zon. And  that  is  Cartagina, 
the  heroic  city  of  New 
Granada,    compact   of    splen- 


Indian  Summer 


(Continued  from  page  52) 


Avis:  Oh,  Hartley!  Hartley!  Do  you 
mean  it?  (Somberly)  I  have  been  waiting  for 
this  day  ...  oh  ...  so  long.  So  long! 
(Hartley  gently  leads  her  to  the  couch.  They 
sit  doivn,  he  zvith  his  arm  around  her  shoulders; 
she  with  her  face  turned  yearningly  up  to  his.) 
Kiss  me.  (She  closes  her  eyes  as  he  kisses 
her.)   Dearest! 

Hartley:     Dearest!     (Pause.) 

Avis  (zvith  startling  suddenness,  her  eyes 
flashing)  :  Come,  let's  clear  out  at  once.  We've 
no  time  to  lose.  We  can  book  passage  on  the 
Britannia  at  once.  She  sails — let  me  see — at 
twelve  o'clock  Tuesday.  Then  London,  Paris, 
Berlin,  Monte  Carlo — yes,  and  little  Aries  in 
mild,  Southern  France.  Little  Aries !  With 
its  layer  upon  layer  of  perfumed  memories,  of 
Greek,  Roman  and  Gaul,  and  a  long-dead 
beauty.  We'll  sit  out  in  the  yellow  sunlight, 
beside  a  grey-white  old  wall,  and  you  will 
paint  the  creamy  sunshine  on  the  flower- 
bordered  white  road.  And  I  shall  just  bask  in 
it,  watching  you,  healed  of  my  fifteen  years' 
deep  hurt.  Hartley,  my  love,  I  can  see  it, 
feel  it  all  in  advance.  I  am  living  it  now 
when  I  shut  my  eyes. 

Hartley  (zvith  staring,  astonished  eyes)  : 
Avis! 

Avis :  Yes,  let's  pack  up  at  once.  Jim  is 
out  of  town  over  the  week-end.  Come !  (She 
rises,  clutching  his  arm  impulsively.) 

Hartley  :     Avis ! 

Avis  (anxiously  looking  dozvn  at  him)  : 
What  is  it,  dear?  Cant  you  go?  Is  there  any- 
thing that  keeps  you?  I  thought  you  said  .  .  . 
(She  gazes  at  him  zvith  large  blank  eyes.) 

Hartley  (slozvly,  heavily)  :  Avis,  I  dont 
think  you  understood. 

Avis  :  What  was  there  to  understand  ?  You 
said  you  still  loved  me,  and  I  .  .  .  well,  then, 
there's  only  one  thing  to  do. 

Hartley  (stiffly)  :  Yes,  but  .  .  .  but  .  .  .  oh, 


but    the    children    ex- 


Avis,    I    am    sorry 
pect  .  .  . 

Avis  (gasping)  :  Oh! 

Hartley  (prosily)  :  Besides,  I've  been  to 
Aries.  Two  years  ago  when  we  were  in  Paris, 
we  went  down  .  .  . 

Avis  (stonily)  :  Yes,  go  on.  You  went  down 
to  Aries.  And  she  sat  in  the  golden  sunlight 
while  you  painted.  Just  so.  Go  on  (zvalking 
up  and  dozvn) ;  go  on  or  I  shall  go  mad. 

Hartley  (zveakly  apologetic)  :  Avis,  please 
dont  be  upset.  I  cant  help  it.  Our  second  child 
was  born  soon  after. 

Avis   (crushed)  :  Oh! 

Hartley  :  I  cant  leave  them,  Avis.  I  just 
cant.  Wont  you  understand?  These  fifteen 
years  have  built  themselves,  like  bricks  and 
mortar,  into  the  structure  of  my  life. 

Avis   (ironically)  :  Dust  in  the  wind! 

Hartley  :  I  mean 

Avis :  Whatever  they  were,  these  fifteen 
years  might  have  been  mine  !  ( With  resigna- 
tion, shrugging  her  shoulders.)  Too  late! 
(Taking  her  cloak.)     Will  you  see  me  home? 

Hartley  :  But  you've  left  your  dinner  un- 
touched.   And  what  about  our  talk? 

Avis  (laughs  cynically)  :  Talk?  What's 
there  to  talk  about  now?  We've  already  lived 
thru  our  Indian  summer — the  Indian  summer 
of  our  love.  Or,  perhaps,  you've  lived  that 
thru,  too,  with  your  wife.  Who  knows? 
Let's   go. 

(The  waiter  enters  zvith  second  course.) 

Hartley  :  Never  mind  the  rest  of  the  dinner. 
Will  you  give  me   the  check,   please? 

Waiter  (taken  aback,  but  urbane)  :  Yes,  sir. 
Did  Madame  dislike  the  dinner? 

Avis :  No.  But  we'll  come  again.  Next 
summer — next  Indian  summer.     Good  evening. 

Waiter  (bewildered)  :  Yes,  Madame.  Thank 
you.     Good  evening. 


ii  1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 minium 111111:111111,11  i 1 


The  Black  Dress 


(Continued  from  page  43) 


Nevertheless,  Dame  Irribaritz  still  occupied 
her  big  canopied  bed.  She  continued  to  sigh, 
invoking  heaven,  cursing  hell  and  sending  her 
daughter-in-law  to  all  the  devils,  when,  by  in- 
advertence, the  injection  was  not  administered 
gently  enough.  And  little  by  little  Dame  Irri- 
baritz's  sighs  grew  deeper  and  the  tone  of  her 
maledictions  grew  sharper.  Yet  Babette  felt 
no  disquietude. 

One  afternoon,  however,  Dame  Irribaritz 
came  out  from  under  her  canopy.  Shortly 
thereafter,  her  power  of  speech  being  greatly 
reinforced,  she  asked  why  they  had  taken  the 
bracelets  and  the  necklaces  out  of  her  box  and 
her  widow's  shawl  out  of  her  big  wardrobe. 
Then  she  demanded  a  thick  beef  soup,  which 
Babette,  all  in  a  tremble,  went  downstairs  to 
make  for  her. 

One  morning  the  old  lady  herself  descended 
the  stairs,  stole  thru  the  silent  house  to  the 
kitchen  and  in  her  thin  voice  criticized  the  man- 
ner in  which  her  daughter-in-law  was  letting 
the  cabbage  soup  simmer.  Then  Babette  no 
longer  doubted  her  misfortune.  She  went  off 
into  a  dark  corner  to  weep  away  the  floods  of 
tears  out  of  her  eyes.  She  wailed  to  herself : 
"My  sweet  and  becoming  mourning  dress ! 
Sweet,  sweet  black  dress!"  Next  she  called 
her  husband  and  said  to  him  heart-brokenly : 

"Rejoice,  Gaspard  Irribaritz!  Your  mother 
has   recovered !" 

"Let  it  be  as  our  Lord  God  wills !"  the  mer- 
chant answered,  with  resignation. 

Then  Babette  went  again  to  get  the  dress. 
But  it  was  not  to  have  it  admired,  as  before — 


smart  and  refulgent  in  its  noble  color.  She 
dragged  it  behind  her  like  a  peasant  woman's 
cheap  skirt  and  groaned  feebly : 

"Here  is  my  mourning  dress.  The  material 
cost  me  more  than  twenty  gold-pieces  and  I 
couldn't  count  the  hours  it  took  me  to  make  it. 
And  I  have  no  use  now  for  this  beautiful  black 
garment." 

The  merchant  took  the  dress,  felt  the  material 
and   sighed : 

"My  heart  would  be  troubled  to  see  so  much 
money  and  labor  spent  in  vain.  Only  Dame 
Irribaritz,  my  mother,  can  now  wear  so  noble 
a  garment.'' 

Poor  Babette,  discomfited  and  miserable,  went 
to  find  her  mother-in-law. 

"See,  Dame,"  she  said,  "here  is  a  beautiful 
dress  which  I  made  for  you,  while  waiting  for 
you  to  be  cured  of  your  great  illness  and  suf- 
ferings. I  fitted  it  to  my  own  figure,  for  illness 
wastes  the  body  and  I  knew  that  you  would  get 
up  from  your  bed  as  slender  as  a  young 
woman." 

Dame  Irribaritz  reached  for  the  dress.  She 
marvelled  at  the  thick  cloth  and  the  beautiful 
workmanship  :  "What  material !  How  volumi- 
nous !  What  puckers !"  Never,  never — Dame 
Irribaritz  could  have  called  all  the  beautiful 
angels  in  Paradise  to  witness — had  her  daugh- 
ter-in-law made  her  so  sweet  a  gift,  so  amiable 
an  offering.  And  while  the  sad  Babette  went 
about  in  the  thin  skirts  of  the  bourgeois,  Dame 
Irribaritz,  adorned  with  all  her  golden  jewelry, 
flaunted  herself  in  the  beautiful  black  dress 
which  her  daughter-in-law  had  so  diligently 
manufactured  to  wear  at  her  funeral. 


SuADOWLAND 


A  Mid-Season  Musical  Review 


(Continued  from  page  49) 


Chaliapin  is  once  again  an  ominous  and  com- 
manding figure.  The  great  scene  with  the  Grand 
Inquisitor,  previously  omitted  and  happily 
restored  to  the  Metropolitan  production,  be- 
comes fraught  with  sinister  import  and 
malignant  purpose,  while  Philip's  soliloquy  in 
the  fourth  act  is  as  memorable  in  its  way  as 
Hamlet's  suicide  soliloquy  when  delivered  by  a 
Booth  or  Salvini.  And  with  what  economy  of 
facial  expression  and  gesture  Chaliapin  conveys 
the  workings  of  his  mind !  His  hands  are  the 
most  eloquent  conceivable  (he  scarcely  moves 
the  arm  from  shoulder  to  elbow),  while  he  im- 
parts as  much  meaning  to  a  shake  of  his  fore- 
finger as  there  was  alleged  to  be  in  Lord 
Burleigh's   nod. 

Before  concluding  this  reference  to  Don 
Carlos  it  may  fairly  be  asked  why,  when  the 
work  was  being  compressed  and  cut  for 
revival  at  the  Metropolitan,  it  was  thought  well 
to  retain  the  extremely  stupid  ballet?  The 
music  is  poor,  the  viise  en  scene  is  far  from 
impressive,  and  smacks  of  the  old-fashioned 
English  Christmas  pantomime,  while  not  even 
the  admirable  dancing  of  Galli  gives  it  more  than 
a  momentary  interest.  The  Don  Carlos  ballet 
belongs  to  the  dark  ages  of  opera,  and  is  on  a 
par  with  the  decor,  as  well  as  the  music,  of 
Catalani's  Loreley,  also  given  this  season  with 
no  excuse  whatever  except  the  beautiful  sing- 
ing of  Madame  Alda. 

The  revival  of  Der  Rosenkavalier  proved 
very  welcome.  It  may  not  be  a  musical  or 
dramatic  masterpiece — Hoff manstal's  book  is 
often  laboriously  dull  as  well  as  of  Teutonic 
grossness — but  it  is  one  of  the  best  comic 
operas  written  since  the  days  of  Rossini.  It 
is  comic  opera  in  the  grand  manner,  and  as 
such  it  quite  properly  finds  a  place  once  more, 
since  the  removal  of  the  ban  on  German 
opera,   in  the  repertory  of  the   Metropolitan. 

Some  of  the  music  is  the  best  ever  penned  by 
its  composer.  In  it  there  is  no  reason  for  him 
to  affect  an  emotional  feeling  or  philosophic 
depth  which  are  not  within  the  range  of  his 
natural  sentiments.  Richard  Strauss  is  at  his 
best  when,  as  in  Der  Rosenkavalier,  he  is  his 
natural  self  —  sardonic,  jronic,  satirical, 
rabelaisian,  boisterously  gay  and  superficially 
sentimental.  Occasionally  he  can  simulate 
something  so  near  to  sincere  feeling — as  in  the 
trio  toward  the  end  of  the  opera — that  he 
touches  the  softer  emotions  of  his  hearers. 
A  master  of  many  styles,  from  Mozart  to 
Johannes  Strauss,  Richard  of  that  ilk  gives 
them  all  effective  expression  in  Der  Rosen- 
kavalier. 

As  for  the  new  Metropolitan  production, 
Urban  has  not  attained  the  exquisite  and 
slightly  rococo  charm  of  last  year's  Co  si  Fan 
Tutte,  but  the  setting  is  for  the  most  part 
sumptuous.  The  revival  is  especially  note- 
worthy for  the  singing  of  Florence  Easton 
(most  versatile  of  artists),  Marie  Jeritza — at 
her  best  in  appearance,  acting  and  voice  as  the 
handsome  young  knight  of  the  rose — and  sweet- 
voiced  Marie  Sundelius.  Another  strong 
feature  of  the  production  is  the  performance 
by  Paul  Bender  of  Baron  Ochs,  a  part  which 
he  created  and  which  is  referred  to  in  an 
article  elsewhere  in  these  pages.  Bender  is  a 
first-rate  artist,  with  a  sonorous  organ  well 
trained  and  used,  and  his  singing  and  acting 
as  Gurnemanz  in  Parsifal  and  King  Mark  in 
Tristan  and  Isolde  proclaim  him  a  very  valuable 
addition  to  the  forces  of  the  Metropolitan. 

Marie  Jeritza  has  not  heightened  the  im- 
pression which  she  made  last  season,  and  which 
was  to  a  large  extent  artificial,  if  not  entirely 
manufactured.  Her  Tosca  remains  a  sadly 
mistaken  performance,  she  still  offends  by  her 
appearance  in  church  with  a  shawl  over  her 
head,  and  looks  and  comports  herself  more 
like  a  robust  young  German  fraulein  at  a  beer 
hall  than  a  distinguished  Roman  actress  in  a 
Christian  shrine.  She  has  slightly  moderated 
her  transports  in  the  second  act,  and  does 
not  lead  poor  Scotti  such  a  dance  around 
Scarpia's  apartment,  but  she  still  sings  Vissi 
d'arte  prone  upon  her  stomach,  and  in  con- 
sequence has  to  chop  up  the  phrases  of  this 
touching   aria   very    inartistically.     Jeritza   has 


also  sung  in  a  revival  of  young  Korngold's 
dull  opera,  Die  Tote  Stadt,  which  would  be 
almost  insupportable  but  for  her,  for  in  it  she 
does  some  really  clever  and  effective  work. 
In  another  revival,  Thais,  she  presents  a  gor- 
geous appearance,  but  she  does  not  act  with 
the  subtle  allure  of  Mary  Garden,  while  she 
sings  little  if  any  better.  But  if  Jeritza's 
repertory  is  likely  to  be  limited,  she  has  a 
vivid  and  attractive  personality,  and  in  such 
a  part  as  Octavian  her  long  experience  in 
vaudeville  and  light  opera  proves  very  service- 
able. 

And  if  Miss  Jeritza  is  not  all  that  she  has  been 
represented  or  her  friends  could  wish  her  to  be, 
the  Metropolitan  has  made  two  very  valuable 
additions  to  its  ranks  this  season  in  the  per- 
sons of  Sigrid  Onegin  and  Elizabeth  Rethberg. 
The  former  has  a  voice  of  remarkable  power 
range  and  beauty  when  not  forced,  and  a  most 
attractive  and  impressive  stage  presence.  She 
is,  in  fact,  a  woman  nobly  planned,  a  veritable 
daughter  of  the  Vikings,  and  an  ideal  im- 
personator of  Wagnerian  heroines.  She  sang 
the  part  of  Brangane  as  it  has  rarely  been  sung 
at  the  Metropolitan,  and  gave  one  the  idea  that 
she  could  achieve  the  higher  vocal  flights  of 
Isolde  with  less  strain  than  Matzenauer,  who  is 
ruining  a  fine  voice  by  trying  to  demonstrate 
that  she  is  a  soprano.  Onegin's  Amneris  in 
Aida  is  a  majestic  impersonation,  and  she  sings 
the  music  excellently.  As  for  Rethberg,  it 
was  a  surprise  to  hear  a  German  demonstrating 
herself  as  an  exponent  of  the  best  method  of 
bel  canto.  She  is  inexperienced  and  somewhat 
awkward  as  an  actress.  But  hers  is  one  of 
the  best  voices  and  vocal  methods  at  the  Me- 
tropolitan. 

Among  the  great  successes  of  the  opera  sea- 
son so  far  is  Edward  Johnson.  He  has  fully 
justified  the  prophecy  I  ventured  to  make  in 
these  pages  in  announcing  his  engagement. 
There  is  no  tenor  before  the  public  today  who 
sings  with  finer  artistry  or  who  acts  with 
such  fervor  and  romance,  while  he  looks  a 
man  in  every  role  he  assumes.  His  Avito  in 
Montemezzi's  U Amor  dei  Tre  Re  vies  with 
Lucrezia  Bori's  performance  in  the  same  opera, 
and  they  make  an  ideal  pair  of  ill-starred 
lovers.  Which  reminds  me  of  the  revival  of 
Romeo  et  Juliette.  What  a  perfect  Romeo 
Edward  Johnson  would  be  side  by  side  with 
the  perfectly  exquisite  Juliet  of  Bori !  Gigli 
sang  the  role  at  the  revival — a  rarely 
admirable  representation  of  Gounod's  melodious 
work,  which  is  bound  to  be  one  of  the  greatest 
attractions  of  the  season.  Gigli  has  a  charming 
voice,  but  he  is  a  poor  actor,  and  he  certainly 
should  not  be  set  to  sing  a  romantic  role  in 
French,  a  language  which  does  not  sound  well 
from  his  lips. 

The  symphony  season  has  been  comparatively 
uneventful,  but  the  New  York  Symphony 
Orchestra  has  been  playing  exceptionally  well 
under  Walter  Damrosch,  and  gave  a  remarkably 
fine  performance  of  Tschaikowsky's  Fifth 
Symphony  at  the  Paderewski  concert.  There 
is  no  more  agreeable  way  of  spending  a  Sunday 
afternoon  than  at  one  of  these  concerts.  The 
most  striking  novelty  yet  given  by  Damrosch 
was  Pizetti's  orchestral  poem  La  Pisanella. 
Here  is  a  "modern"  who  has  something  ex- 
tremely interesting  and  often  beautiful  to  say, 
and  who  knows  exactly  how  to  say  it. 
Respighi,  Casella  and  Pizetti  show  that 
Italy  is  very  much  in  the  musical  movement, 
and  one  hopes  to  hear  more  of  their  work.  I 
cannot  say  as  much  for  Blair  Fairchild's 
ballet  pantomime  music,  Dame  Libellule,  which 
is  unsuitable  and  too  lengthy  for  an  orchestral 
number,  and  badly  needs  the  stage  action.  But 
it  is  cleverly  scored  in  places,  and  shows 
musical  inventiveness. 

The  Philadelphia  Orchestra  remains  the 
great  symphonic  attraction  of  the  season,  and 
invariably  draws  a  house  packed  with  musical 
and  social  celebrities,  as  well  as  ardent  music- 
lovers.  Stokowski  also  remains  firm  on  his 
pedestal  as  the  ablest  of  conductors,  and  his 
orchestra  as  the  greatest  symphonic  instru- 
ment in  this  or  any  other  country.  But 
(Continued  on  page  77) 


We  Need  Several  Men 
To  Earn  $3000  a  Year 


Perhaps    You    Are    The    Man 
We  Are  Looking   For 


In  filling  these  positions,  we  prefer  to 
have  men  who  are  now  earning  less 
than  $60  a  week. 

If  you  are  between  the  ages  of  21  and 
50;  if  you  have  a  Public  School  educa- 
tion or  better ;  if  you  are  of  neat  appear- 
ance and  have  the  respect  of  the  folks  in 
your  neighborhood ;  if  you  are  ambitious 
to  better  your  position  in  life ;  and  if 
you  are  not  afraid  to  work  hard  for  in- 
dependence and  big  pay;  then,  you  are 
the  man  we  are  looking  for  and  we 
want  to  get  in  touch  with  you  at  once. 

Meet  Mr.  W.  E. 
Peck.  He  owns 
his  home  and  an 
automobile.  He 
has  a  fine  family 
and  is  financially 
happy.  He  is 
one  of  our  Rep- 
resentatives. 

YOU  CAN  BEGIN 

IN  SPARE  TIME 

Men  who  are  now  employed  are  wel- 
come to  try  our  work  in  spare  time,  un- 
til they  have  satisfied  themselves  that 
the  Magazine  Business  offers  them  the 
opportunity  they  have  been  looking  for. 
With  our  liberal  commission  offer,  a 
salary  based  on  your  monthly  produc- 
tion, and  an  extra  bonus  to  help  swell 
your  earnings,  it  is  possible  for  you 
to  earn  upwards  of  $1.00  an  hour  right 
from  the  start. 

Men  interested  in  having  more  money, 
should  send  to  us  at  once  for  further 
particulars.  If  you  qualify,  we  will 
furnish  everything  you  need  to  work 
with.  FREE.     Use  the  coupon  below. 


-Cut    Here' 


CLASSIC 

175    Duffield    Street 
Brooklyn,   N.    Y. 

Subscription    Department : 

Please  tell  me  how   I   can  earn  $3,000.00  a  year. 


Name 


St.    and    No. 
City 


State. 


:/ 


Page  Seventy-Three 


SuiADOWLAND 


MOTION    PICTURE 

MAGAZINE 

for   MARCH 


Lila  Lee:  an  Interview 

Once  Lila  Lee  was  at  the  top, 
but  her  childish  fingers  were 
not  strong  enough  to  hold  to 
the  slippery  peak  of  stardom. 
But  since  then,  from  shat- 
tered dreams  and  broken 
hopes — bricks  without  straw 
— she  has  been  building  the 
foundation  of  another  star- 
dom that  is  permanent. 
Read  what  Adele  Whitely 
Fletcher  says  about  her. 

Charlie  Chaplin 

Fame,  fortune  and  the  adora- 
tion of  millions  of  people — 
that  should  make  one  happy. 
And  yet  that  is  not  always 
true.  Charlie  Chaplin,  altho 
he  shows  a  smiling  face  to 
his  audience — the  one  that 
looks  back  at  him  from  his 
mirror,  has  tragic,  lonely 
eyes.  "As  Happy  as  Kings," 
tells  you  why  this  is  so. 

Tony:  the  Millionaire  Horse 

He  lives  a  life  of  padded 
ease,  travels  in  a  special  car, 
his  oats  and  bran  mashes  are 
inspected  by  a  dietician. 
Who  wouldn't  be  Tom  Mix's 
horse? 


MOTION   PICTURE 
MAGAZINE 
for   MARCH 


Wanderings 

(Continued  from  page  56) 


The  Mousetrap  play  in  dumb  show,  with  two 
persons  mouthing  the  lines  from  either  side, 
is  an  ineffective  pedanticism,  while  the  mutila- 
tion of  the  text  and  the  omission  of  significant 
and  well-remembered  passages  are  unpardonable. 

TV'or  can  one  permit  without  protest  Mr. 
Barrymore's  obstinate  insistence  on  the  gen- 
erally rejected  reading  of  "pitch  and  moment" 
for  "pith  and  moment,"  as  it  is  in  the  first  folio 
and  many  other  standard  editions.  I  have  never 
heard  any  other  Shakespearean  actor  of  repute 
use  the  former.  But  Mr.  Barrymore  literally 
"pitches"  the  phrase  at  his  audience  by  over- 
accenting  the  mooted  word.  However,  these 
young  moderns  will 
have  their  way, 
and  naturally  my 
friend  Mr.  Ken- 
neth Macgowan  is 
delighted  with  the 
Hopkins  -  Jones  - 
Barrymore  produc- 
tion, for,  of  course, 
nowadays  the  actor 
comes  last,  while 
the  play  and  the 
author  are  no- 
where, the  princi- 
pals being  the  pro- 
ducer, the  designer 
of  the  scenes,  and 
the  gentleman  who 
controls  the  lights. 

Asa  friend  and 
"^  admirer  of 
Caruso,  both  as 
man  and  an  artist, 
I  have  been  much 
interested  in  the 
life  of  the  great 
tenor  written  by 
another  friend, 
Pierre  V.  R.  Key, 
with  the  aid  of 
Bruno  Zirato,  who 
was  for  years 
Caruso's  confiden- 
tial secretary.  It 
is  a  sumptuous  as 
well  as  interesting 
and  faithful  record 
of  the  life  of  one 

whose  career  was  an  example  of  courage, 
industry,  high  artistic  aims  and  fidelity  to  his 
public.  Caruso,  tho  sprung  from  the  people, 
was  of  no  common  clay.  He  had  that  some- 
thing in  him  which  placed  him  in  a  class  apart. 
By  which  I  do  not  mean  that  Caruso  was  above 
and  beyond  human  weaknesses  and  foibles,  for 
he  was  very  human,  but  he  knew  that  within 
him  there  was  a  talent  which  could  raise  him 
high  above  his  fellows,  and  above  all  he  realized 
that  art  was  a  hard  taskmistress,  who  must  be 
rigorously  obeyed,  at  the  sacrifice  of  many 
things  which  go  to  make  life  smooth  and  easy. 
Mr.  Key  in  his  biography  does  not  try  to 
depict  Caruso  as  a  hero  or  demigod ;  there  is 
no  fulsome  praise ;  but  the  weaknesses  and  fail- 
ings of  the  man  are  set  down  as  well  as  his 
virtues  and  excellences.  The  result  is  a  book 
which  should  be  possessed  by  all  who  recall 
the  pleasure  and  delight  they  derived  from  the 
most  wonderful  voice  of  its  time,  and  who  wish 
to  follow  the  career  of  a  man  who  rose  from 
the  humblest  and  poorest  circumstances  to  be 
the  greatest  and  richest  operatic  singer  of  his 
day.  It  is  as  interesting  as  any  romance,  while 
it  conveys  its  lesson  to  those  who  believe  that 
it  is  an  easy  thing,  so  long  as  the  voice  is  there, 
to  become  a  popular  singer.  Let  them  read 
Caruso's  biography — a  comely  and  finely  il- 
lustrated volume — and  learn  from  it  the  lessons 
of  determination  and  incessant  industry  and 
self-denial  which   it  conveys. 

A  mong  the  many  concerts  and  recitals  I 
■^  have  been  called  upon  to  attend  I  was 
much  entertained  and  impressed  by  that  given 
to  celebrate  the  twenty-fifth  year  of  Mr.  C.  M. 
Tremaine's   connection  with  the  Aeolian   Corn- 


Curtis  Be 
PIERRE   V.  R.  KEY 
Editor  of  The  Musical  Digest,  former  music  editor 
of  The  World.  Author  of  Enrico  Caruso,  a  biography 


pany.  The  development  of  the  player  piano 
is  one  of  the  most  important  musical  achieve- 
ments of  the  age,  for  it  has  brought  the  finest 
interpretations  of  musical  classics  into  many 
thousands  of  homes  and  they  have  been  heard 
by  millions  of  people  who,  without  such  an 
invention  would  have  remained  ignorant  of 
great  master  works  as  rendered  by  master 
players. 

When  one  finds  men  like  Paderewski,  Rach- 
maninoff, Hoffman,  Levtizki,  Godowsky,  and 
many  others  of  the  front  rank,  recording  for  this 
or  that  player  piano,  and  certifying  to  the  accu- 
racy of  the  reproductions,  one  should,  I  suppose, 
be  satisfied.     But  in  such  matters  some  of  us 

prefer  to  judge  for 
ourselves,  and  I 
admit  that,  in  the 
light  of  recent 
events,  I  am  thoro- 
ly  convinced,  for  I 
have  no  difficulty 
i  n  differentiating 
between,  say,  a 
Hoffman  record 
and  one  by  Godow- 
sky. 

The  night  I  was 
at  Aeolian  Hall 
one  heard  the  tiny, 
tinkling  tones  of 
an  ancient  harp- 
sichord, precursor 
of  the  piano,  com- 
pared directly  with 
those  of  the  modern 
concert  grand  with 
player  attachment, 
and  I  thought  how 
tremendously  Bach, 
Mozart  and  Beet- 
hoven would  have 
enjoyed  hearing 
their  works  on  the 
latter,  just  as 
Shakespeare  would 
have  enjoyed  see- 
ing his  plays  per- 
formed with  the  ac- 
cessories and  effects 
of  the  modern 
stage  —  excepting 
Mr.  Hopkins'  Mac- 
beth and  Hamlet. 
And  what  a  mysterious  thing  the  player 
piano  is  in  its  way !  There  is  something  almost 
uncanny  in  watching  it  start  by  means  of  a 
hidden  electric  attachment  and  play  thru  a  con- 
certo with  full  orchestral  accompaniment, 
without  missing  a  pause  or  entry.  The  poet 
once  pined  for  the  touch  of  a  vanished  hand 
and  the  sound  of  a  voice  that  is  still.  But 
science  gives  us  both  today  thru  the  player 
piano  and  the  talking  machine,  while  the  motion 
picture  almost  brings  back  to  life  the  de- 
parted. Moreover,  the  player  piano  can  play 
tricks.  By  its  means  a  pianist  can  play  a  duet 
with  himself. 

At  the  Aeolian  Hall  I  heard  that  finely  ac- 
complished musician,  Carlos  Salzedo,  play  the 
harp,  as  only  he  can  play  it,  to  his  own  piano 
accompaniment,  which,  of  course,  he  had  pre- 
viously recorded,  and  the  result  was  delightful. 
This  is  a  remarkable  age,  and  one  is  learning 
not  to  be  surprised  at  anything,  altho  I  am  far 
from  belonging  to  the  blase,  nil  admirari  class 
which  makes  a  point  of  never  displaying  ap- 
preciation or  astonishment  at  anything,  how- 
ever marvelous. 

Ursula  Greville  are  two  good  old  English 
names,  and  they  are  borne  by  a  charming 
and  talented  young  English  woman  who  recently 
paid  a  visit  to  New  York.  Miss  Greville  shines 
in  a  treble  capacity — as  a  singer,  a  composer 
and  editor.  In  the  first  she  recently  captivated 
a  large  audience  at  Aeolian  Hall  by  her  singing 
of  ancient  and  modern  English  songs,  while  her 
compositions  are  deservedly  successful.  _  Miss 
Greville,  who  is  editor  of  that  advanced  literary 
and  musical  publication,  The  Sackbut,  contem- 
plates a  return  visit. 


Page  Seventy-Four 


The  Camera  Contest 

(Continued  from  page  62) 


and  the  4x5,  both  of  which  roughly  fit  the  pro- 
portion mentioned. 

Let  us  suppose  that  we  are  engaged  in  trying 
to  make  a  picture  with  a  camera ;  that,  for  the 
moment,  we  are  trying  to  see  what  the  water- 
front will  offer  us  in  the  way  of  picture  values. 

Upon  looking  over  our  picture  space,  mean- 
ing the  3J4x4J4  area  we  are  supposed  to  fill  with 
matter  which  will  acceptably  make  a  picture, 
we  find  that  the  long  line,  meaning  the  4% 
inch  side,  is  the  governing  side  of  the  picture. 
To  put  it  briefly,  the  long  line  is  the  strong 
line,  and  that  side  has  the  greatest  effect.  If 
we  propose  to  make  a  picture  of  the  vertical 
buildings  of  New  York,  we  naturally  drop  into 
the  way  of  setting  the  picture  up  vertically,  as 
any  other  way  would  not  accommodate  the  pic- 
tures we  propose  to  make.  Aside  from  this  we 
accent  the  feeling  of  verticality,  by  adding  to 
the  vertical  lines  of  our  buildings  the  long 
strong  sides  of  the  picture  space,  and  it  has  a 
most  material  effect  upon  the  picture.  Under 
ordinary  circumstances,  if  we  propose  to  make 
a  landscape  in  which  horizontal  lines  prevail, 
we  naturally  set  the  picture  horizontally  to  get 
the  gentle  feeling  of  the  landscape.  Again  the 
long  side  of  our  picture  assists  us  in  forcing 
a  feeling  of  restfulness  into  the  picture. 

But,  we  were  about  to  fuss  with  the  'water- 
front, and  we  are  now  to  the  point  where  we 
have  to  find  out  what  we  are  going  to  put  into 
the  picture  space.  We  must  remember  that 
we  are  going  to  do  something  besides  take  a 
photograph  of  the  thing ;  suppose  it  is  a  picture 
where  we  have  a  bridge  in  the  distance  and 
some  boats  in  the  foreground.  We  are  going 
to  try  to  make  a  picture,  using  every  way  we 
can  think  of  to  make  the  different  items  of  sub- 
ject matter  fit  into  it,  in  such  a  manner  that 
some  painter  will  come  along  when  it  is  done, 
and  wish  he  had  painted  the  same  subject.  We 
are  going  to  have  folks  love  that  picture  if 
there  is  a  chance  in  the  world.  We  are  really 
trying  to  do  something ;  to  reach  the  hearts  of 
others  by  the  way  we  put  that  picture  together 
in  that  picture  space.  As  I  said,  therefore,  we 
are  not  this  time  taking  a  photograph.  We  are 
trying  to  create  a  picture,  and  when  it  is  done, 
it  is  as  much  our  own  work  as  if  we  carved 
a  statue  out  of  stone.  The  mere  fact  that  we 
used  a  lens  is  our  own  affair ;  the  mere  fact 
that  we  did  most  of  our  drawing  with  chemicals 
is  also  our  own  affair.  We  are  creating  some- 
thing to  make  others  happy  and  satisfied. 

Let  us  get  back  to  our  bridge,  our  waterfront 
and  the  boats.  They  are  pleasant  things,  and 
full  of  human  interest  and  life  in  its  finest 
form.  We  walk  along  the  docks,  and  then, 
after  messing  about  for  a  time,  we  find  a  par- 
ticularly beautiful  picture  partially  made  up  for 
us.  We  see  the  bridge  thru  the  docks  with 
boats  and  ships  in  the  foreground.  And  then 
we  begin.  That  is  all  one  man  can  reasonably 
hope  to  do  in  one  afternon's  walk,  and  we  will 
confine  our  efforts  to  making  a  picture  of  these 
materials.  The  picture  logically  is  horizontal, 
and  curiously  is  dramatic  and  restless  in  its 
thought,  but  rather  restful  in  its  composition 
on  account  of  the  manner  of  placing  the  various 
things  on  the  plate.  We  have  a  thousand 
choices  as  to  just  how  to  place  this  picture  on 
the  plate.  We  move  five  feet  to  the  right,  and 
we  have  an  entirely  different  picture.  We  raise 
the  camera  a  few  inches  and  we  have  still  an- 
other effect.  We  point  the  camera  upward  or 
downward  and  have  still  other  effects.  The 
possibility  of  change  is  great,  even  with  such 
a  mechanical  instrument  as  the  camera.  In 
other  words,  we  make  our  picture,  as  surely  as 
a  painter  makes  his  picture  with  brushes.  There 
is  not  so  much  hand  work,  true,  and  as  such 
it  will  not  have  the  value  as  a  painting  done 
equally  as  well ;  but  nevertheless  it  is  a  crea- 
tive thing  and  a  live  thing.  We  find  that  we 
do  not  desire  both  piers  of  the  bridge,  as  we 
are  trying  for  interpretation  rather  than  literal 
depiction.  We  will  leave  one  out ;  it  makes  the 
picture  better.  We  will  weave  these  items  be- 
fore us  into  a  picture,  and  we  each  have  it  to 
do  in  our  own  personal  way,  and  the  pictures 
of  a  thousand  different  persons  made  with  the 
camera,  from  that  same  viewpoint,  will  all  be 
as  different  as  can  be.    No  more  can  be  said. 


The  judges  for  this  month's  contest  are:  Dr. 
A.  D.  Chaffee,  President  of  the  A.  P.  A.,  Dr. 
Charles  H.  Jaeger  and  Eugene  V.  Brewster. 

First  Prise — Casfles  of  Today.  Johan  Hage- 
meyer,  Sleepy  Hollow,  Mill  Valley,  California. 

Second  Prise — Portrait.  James  C.  Coppola,  389 
Flushing  Avenue,  Astoria,  Long  Island,  N.  Y. 

Third  Prise — New  York  Harbor.  Robert 
Waida,  9  West  14th  Street,  New  York  City. 

Honorable  Mention — Storm  Clouds.  George 
P.  Lester,  107  Essex  Avenue,  Bloomfield,  N.  J. 

Honorable  Mention — Equinox  House.  Harry 
A.  Neuman,  437  Enfield  Street,  Brooklyn,  N.  Y. 

Honorable  Mention — Cornwall  on  the  Hud- 
son. Charles  A.  Hellmuth,  338  West  22nd 
Street,   New  York   City. 

Monthly  prizes  of  at  least  $25,  $15,  and  $10 
are  awarded  in  order  of  merit,  together  with 
three  prizes  of  yearly  subscriptions  to  Shadow- 
land  to  go  to  three  honorary  mentions.  All 
prize-winning  pictures  will  probably  be  pub- 
lished in  Shadowland. 

The  committee  of  judges  includes  : 

Joseph  R.  Mason,  chairman  of  committee, 
Corresponding  Secretary  P.  P.  A. ;  Eugene  V. 
Brewster,  Editor  and  Publisher  of  Shadow- 
land  ;  Louis  F.  Bucher,  Secretary  Associated 
Camera  Clubs  of  America;  Dr.  A.  D.  Chaffee, 
President  of  P.  P.  A. ;  Arthur  D.  Chapman, 
Advisory  Committee  P.  P.  A. ;  G.  W.  Harting, 
Advisory  Committee  P.  P.  A. ;  Dr.  Chas.  H. 
Jaeger,  contributing  member  Pittsburgh  and 
Los  Angeles  Salons ;  Miss  Sophie  L.  Lauff  er, 
Secretary  Dept.  of  Photography,  Brooklyn  In- 
stitute of  Arts  and  Science ;  George  P.  Lester, 
Member  P.  P.  A.  and  Orange  Camera  Club ; 
Nickolas  Muray,  portrait  photographer;  John 
A.  Tennant,  Editor  and  Publisher  of  Photo 
Miniature ;  Miss  Margaret  Watkins,  ex-Record- 
ing Secretary  P.  P.  A. ;  Clarence  H.  White, 
ex-President  P.  P.  A. 

The  jury  of  selection,  to  be  announced  each 
month  with  their  selections,  consists  of  three 
members,  to  be  chosen  from  the  committee  or 
the  membership  of  the  society.  No  member  of 
the  jury  thus  chosen  for  any  given  month  shall 
submit  pictures   for  that  month's  contest. 

Shadowland  desires  that  every  camera  en- 
thusiast reap  benefit  from  this  contest  and  to 
this  end  makes  the  inclusion  of  the  following 
data  re   contesting  prints   imperative : 

(a)  Date  and  hour  of  exposure. 

(b)  Stop  number  used. 

(c)  Printing    medium    used. 

(d)  Character  of  print — whether  straight 
or  manipulated. 

(e)  Make  of  camera  and  lens. 

Any  print  previously  published  is  not  eligible. 

No  printing  medium  is  debarred,  but  capa- 
bility of  good  reproduction  will  be  a  factor  in 
the  selection  of  prints. 

Contestants  may  submit  prints  up  to  any  num- 
ber and  to  as  many  of  the  monthly  contests  as 
they  desire. 

Prints  received  on  or  prior  to  the  first  of 
each  month  to  be  considered  entered  in  that 
month's  contest. 

Name  and  address  of  maker,  title  and  num- 
ber must  be  printed  or  plainly  written  upon  the 
back  of  each  print.  Return  address  to  be 
written  plainly  upon  package. 

Prints  must  be  packed  flat.  A  small  mount 
makes  for  safety  in  handling,  but  is  not  re- 
quired. Prints  will  be  acknowledged  upon  their 
receipt. 

Rejected  prints  will  be  returned  immediately, 
provided  proper  postage  for  the  purpose  be  in- 
cluded. It  is,  however,  understood  that 
Shadowland  reserves  the  right  to  reproduce 
any  print  submitted  and  to  hold  such  for  a 
reasonable  time  for  that  purpose. 

Special  care  will  be  taken  of  all  prints  sub- 
mitted, but  neither  The  Brezvster  Publications 
nor  the  Pictorial  Photographers  of  America 
assume  responsibility   for  loss   or  damage. 

All  prints  and  all  communications  relative  to 
the  contest  are  to  be  sent  to  Joseph  R.  Mason, 
Art  Center,  65  East  56th  Street,  New  York  City. 

No  prints  will  be  considered  if  sent  elsewhere 
than  stated  above.  Submission  of  prints  will 
imply  acceptance  of  all  conditions. 


TheTr 

A   CLUB    \ 
EARN  MOA 

Wouldn't  yc 
turn  your  sp 


You  might  bi 
ographer  or 
young  lady  e 
marry — whatt 
position  in  li 
are  interested 
more  money,  men  wc 
want  you  in  our  Club. 
Mrs.  Fannie  Jones  and 
Miss  Gertrude  Fryer, 
the  members  whose  pictures  you  see 
in  this  column,  are  already  engaged 
in  collecting  dollars  from  the  Treas- 
ure Chest.  They  join  their  Secre- 
tary in  inviting  you  to  come  and  do 
likewise. 

More  things  for  the  home,  more  and 
prettier  clothes,  more 
money  for  pleasure 
trips,  can  all  be  had  by 
devoting  only  a  few 
hours  each  week  to 
work  which  our  present 
members  will  testify 
gives    them    as    much 

pleasure  as  does  the  spending  of  the 

money  they  receive. 

If  You  Can  Use  $SO 

extra,  let  us  show  you  how  to  get  it.  All 
that  is  required  is  for  you  to  interest  your 
friends  and  acquaintances  in  subscribing  to 
4*Wd"utv?  — tne  Brewster  Publication  con- 
i-'  ^~"     taining  beauty  secrets  for 

everywoman — a  magazine  no  woman  should 
be  without. 

The  popularity  of  ^Gerutvj  assures  your 
success  in  advance.    <J  ^^   So    previous 

experience  is  unnecessary.  We  furnish  our 
members  with  everything  they  need  to  work 
with,  free,  and  in  addition,  tell  you  where  to 
go  and  what  to  say.  Wouldn't  you  like  to  try 
it?  Anyway,  you  wont  be  obligated  if  you 
ask  for  further  particulars,  so  why  not  write 
me  a  letter  today? 

Sincerely  yours, 
Secretary,  The  Treasure  Chest 


175  Duffield  St. 


Brooklyn, 
New  York 


Page  Seventy-Five 


:  Studies 

book  of 
photographs 

i  Studies 

orm,      hand- 
conveniently 
is    is    not    a 
ection   but   a 
selection   of 
ituesque    and 
,     from     life, 
studio      and 
natural    out- 
pheres. 

ition  will  be 
n  a  choice  of 
igs: 

Art 

Paper     $1,00 

Leather,  Quality 

Deluxe      3. 00 

Alta  Studios,  Inc. 

Dept.  20 

111  Golden   Gate  Ave. 

San  Francisco,  Cal. 


Shadowland 

for  March 

Albert  Vargas,  the  young  Peruvian 
artist,  whose  work  is  ivell-knoivn  in 
South  America,  thru  the  medium  of  "Plus 
Ultra,"  and  "Artes  Graficus,"  has  drawn 
an  exquisite  series  of  motion  picture 
stars  for  "Shadoivland."  They  will  ap- 
pear in  full-color  reproduction,  and  are 
quite  the  finest  things  of  this  kind  ever 
done.  Nita  Naldi  is  the  first  one  of  the 
series,  appearing  in  the  March  number. 
Others  are: 

Doris  Kenyan  Alma  Rubens 

Norma    Talmadge        Kathleen   Martyn 
Rubye  de  Remer  Lila  Lee 


In  Studio  and  Gallery 

(Continued  from  page  59) 


"Convenient   to  Everywhere' 

RITTENHOUSE 

HOTEL 

22d  &  Chestnut  Sts 

Philadelphia,  Pa 

A   hotel   of  the  highest   type   ca- 
1      tering  only  to  the  best  patronage 
1      Rooms   with  hot  and     <!?*>   UP 
1           cold  running  water    *D£i 
1      Rooms    with                        <t»  O    VF 

I          batli     <bd 

Club    Breakfast,    50c    ulp 

Special      Luncheon,      90c 

1             Evening     Dinner,      $1.25 

As   well    as   service    a   la   carte. 

Music    During    Luncheon, 
Dinner   and    Supper. 

BE 

sudden,  came  the  sea  .  .  ."  he  would  un- 
doubtedly have  torn  his  beautiful  white  beard 
and  tried  to  get  in  touch  with  Conan  Doyle,  so 
that  he  might  be  set  right  with  the  world. 
However,  William  Starkweather  heard  some- 
thing of  a  similar  nature  the  other  day  and 
never  made  a  murmur.  He  happened  to  be 
standing  back  of  one  of  his  paintings  at  an 
exhibit  when  two  women  stopped  in  front  of 
it.  Said  the  younger  one :  "I  will  explain  ex- 
actly what  the  artist  had  in  his  mind  when  he 
painted  this  picture."  She  proceeded  to  do  so 
with  a  great  air  of  wisdom  and  much  thoroness. 
"Never,"  said  Starkweather,  "have  I  under- 
stood my  own  work  so  thoroly  or  realized  I 
had  had  so  many  thoughts  that  I  hadn't 
thought  of." 

T_Terbert  Meyer  is  showing  a  picture  that 
has  in  it  a  glimpse  of  the  gardens  at 
Louis  Untermeyer's  place  on  the  Hudson.  Last 
summer,  when  he  was  making  some  of  the 
preliminary  sketches,  the  gardener  came  along 
and  asked  him  what  he  was  doing  there.  Mr. 
Meyer  tried  to  be  facetious,  but  the  gardener 
was  not  to  be  side-tracked.  "Dont  you  know," 
he  said,  "that  Mr.  Untermeyer  doesn't  allow 
anyone  on  the  grounds,  and  when  we  want 
the  garden  painted  we  get  a  regular  painter?" 

TV/fucH  to  the  surprise  of  William  R.  Leigh, 
when  the  National  Academy  catalog  came 
out,  he  was  not  in  it,  nor  did  he  get  any  tickets 
for  the  exhibition.  He  went  up  and  and  paid 
his  little  entrance  fee  and  by  dint  of  much 
wandering  found  that  the  picture  he  had 
entered  was  hung  all  right  but  it  corresponded, 
in  the  catalog,  to  a  picture  entered  by  a  Mr. 
Deign,  and,  as  he  discovered  later,  all  tickets 
and  other  information  had  been  sent  to  this 
mysterious  Mr.  Deign.  Mr.  Leigh  is  now 
looking  for  linotypers  and  proofreaders. 

A/Tahonri  Young  and  Howard  McCor- 
mick  are  once  more  working  in  the  An- 
thropology Department  of  the  American 
Museum  of  National  History.  They  are 
already  represented  in  this  by  the  two  groups 
of  Indians,  one  the  Hopi  and  the  other  Apache. 
Mr.  Young  models  the  figures  and  Mr. 
McCormick  makes  the  backgrounds.  The  new 
group  they  are  working  on  is  of  the  Navajo 
Indians. 

HP  he  announcement  of  the  water  colors  of 
Joseph  Pennell  hurried  us  to  the  Macbeth 
Galleries.  Joseph  Pennell  is  a  lover  of  New 
York.  The  huge  downtown  bui1  dings  stand  in 
silhouette  against  the  glory  of  his  Western  sky. 
A  feeling  of  Whistler  comes  over  one ;  then, 
in  some,  we  feel  a  distinct  Japanesque  han- 
dling. It  seems  like  a  dream  city,  shrouded 
in  a  mass  of  beautiful  color.  The  racing  of 
the  boats  only,  brings  back  to  us  the  busy 
city  of  the  daytime.  New  York  is  idealized  by 
Joseph  Pennell,  and  cleverly,  too,  for  we  see 
beauty  first  and  then  power. 

The  well-handled  water  color  is  a  bright 
spot  in  the  grey  day  of  our  lives  and  it  should 
be  the  spot  of  sunlight  in  our  dark,  dingy 
rooms.  Some  time  ago  we  spent  the  day  with 
studies  only  in  this  medium.  First  at  the 
Whitney  Studio  Club — the  rooms  were  brilliant 
with  the  colors  of  Carl  S.  Cutler,  John  Goss, 
Charles  N.  Hopkins  and  Charles  N.  Pepper. 
The  fearless  use  of  strong  color  and  feeling 
of  sunlight  make  these  sketches  reflect  the  keen 
appreciation  of  the  artists. 

The  water  colors  of  Boyer  Gonzales  have 
been  shown  at  the  Brown-Robertson  Galleries. 
Gonzales,  a  native  of  Texas,  is  a  protege  of 
Winslow  Homer.  This  was  his  first.  New 
York,  one-man  show ;  other  works  of  his  have 
been  seen  at  the  Salmagundi  Club.  His  sub- 
jects vary  from  the  Gulf  to  Canada.  We  like 
the  marines,  the  boats  set  snug  in  the  water  and 
a  feeling  of  the  swell  of  the  sea  goes  with  them. 

The  work  of  Frank  W.  Benson  at  the  Milch 
Galleries  made  us  feel  that  the  artist  was  in 
vacation  mood.  There  is  the  joy  of  the  country 
in  his  water  colors,  blue  waters  and  sunlit 
clouds.  Serious  thought  and  knowledge  we 
grant,   too,   but   first   and   best,    Frank    Benson 


has  succeeded  in  giving  to  us  the  joy  that  was 
his  in  the  painting  of  these  sketches. 

Current   Exhibitions 

Ainslie  Galleries,  677  Fifth  Avenue :  The 
Aquarellist  Society  of  Water  Color  Painters 
will  exhibit  from  February  first  to  the  fifteenth. 
The  latter  part  of  the  month  and  until  the 
middle  of  March,  animal  studies  by  Glenn 
Newell  will  be  shown.  Also  water  colors  by 
Mr.  Newell  in  an  entirely  new  handling  will 
be  in  the  same  exhibit. 


Art  Center,  65  East  56th  Street:  From  Jan- 
uary twentieth  to  February  third,  an  exhibi- 
tion on  Illustration  by  Boye-Sorensen,  also  an 
exhibit  of  Decorative  Stage  Settings  by  Inge- 
borg  Hansell.  February  first  to  the  twenty- 
eighth,  an  exhibition  by  the  Pictorial  Photog- 
raphers of  America. 


Babcock,  IQ  East  4gth  Street :  The  recent 
paintings  of  Henry  S.  Eddy,  who  has  just  re- 
turned from  a  year  on  the  continent,  will  be 
shown  during  the  month  of  February. 


Behnaison  (Wanamaker's)  :  A  modern  Dec- 
orative Exhibit  will  be  on  view  during  the 
month  of  February. 


Co-operative  Gallery,  726  Fifth  Avenue : 
From  February  first  to  the  twenty-eighth,  an 
exhibition  of  Craft  Work  will  be  shown.  At  the 
same  time  there  will  be  on  view  the  work  of 
Members  of  the  American  Institute  of  Graphic 
Art. 


Dudensing  Galleries,  45  West  44th  Street: 
A  group  of  American  Paintings  will  be  shown 
thruout  the  month  of  February. 


Ehrich  Galleries,  705  Fifth  Avenue  :  Paintings 
by  Henrietta  Shore  are  on  view  from  January 
twenty-third  to  February  eighteenth.  The  re- 
mainder of  the  month  old  masters  can  be  seen. 


Ferargil  Galleries,  607  Fifth  Avenue :  The 
first  part  of  the  month,  Paintings  by  John 
Folinsbee  are  the  showing.  Sculpture  by  Olin 
Warner  will  be  on  view  during  the  latter  part. 


The  Misses  Hill  Galleries,  607  Fifth  Avenue : 
The  last  two  weeks  of  January  and  the  first 
week  in  February  the  work  of  Jane  Peterson, 
in  oil  and  water  color,  will  be  shown.  Fol- 
lowing this  exhibit,  for  one  week,  Paintings  by 
Hortense  Budell  will  be  on  view. 


Knoedler  Galleries,  556  Fifth  Avenue : 
Selective  Paintings  and  Etchings  will  be  shown 
during   the   month   of   February. 


Kraushaar  Galleries,  680  Fifth  Avenue :  In 
February,  Paintings  by  Augustus  Vincent  Tack 
will  be  exhibited. 


Macbeth  Galleries,  450  Fifth  Avenue :  From 
January  twenty-third  to  February  twelfth,  the 
Thirteenth  Annual  Exhibition  of  Thirty 
Paintings  by  American  Artists  will  be  on  view, 
also  paintings  by  Felicie  W.  Howell.  Paint- 
ings by  Chauncy  F.  Ryder,  N.  A.,  will  be  shown 
from  February  thirteenth  to  the  fifth  of  March. 
At  the  same  time,  Paintings  by  Ruth  Anderson 
Temple  and  Elizabeth  C.  Spencer  are  on  view. 


Milch  Galleries,  108  West  57th  Street:  Cali- 
fornia Landscapes  and  Marines  by  Armin 
Hamsen  are  on  view,  from  January  twenty- 
ninth  to  February  tenth,  also  Pastels  of  the 
Hudson  by  Arthur  C.  Goodwin.  From  Feb- 
ruary twelfth  to  the  third  of  March,  Landscapes 
by  Willard  L.  Metcalf  will  be  shown. 


Wiener  Werkstatte  of  America,  581  Fifth 
Avenue :  During  February,  a  new  collection 
of  original  silver  pieces  from  Vienna,  made 
by  the  various  artists  of  the  Wiener  Werk- 
statte will  be  shown,  also  new  hand-tooled 
leathers,  ceramics  and  hand-painted  glassware 
in  various  colors. 


Page  Seventy-Six 


SLlADOWLAND 


R] 


The  Hamlet  of  a 
Generation 

(Continued  from  page  39) 

ECASTING  could  do  very  little  for  Rain, 
A  Texas  Nightingale  or  Seventh  Heaven. 
Nothing,  in  fact,  could  save  the  threadbare  and 
theatric  romanticism  of  Seventh  Heaven;  even 
Helen  Menken's  performance — which,  with  the 
aid  of  an  inferiority  complex,  moistened  my 
eyes  twice  during  the  evening — cannot  save  it. 

Personally,  I  should  like  to  see  some  other 
actor  than  Robert  Kelly  play  the  missionary  in 
the  drama  which  John  Colton  and  Clemence 
Randolph  have  made  out  of  Somerset  Maug- 
ham's splendid  story ;  and  I  should  like  to  see 
Jeanne  Eagels  a  little  less  violent  and  carica- 
turish  in  her  movements  as  the  cheerful  young 
prostitute  who  is  the  heroine  of  Rain.  But  the 
general  effect  of  John  D.  Williams'  cast  is  good. 

As  for  A  Texas  Nightingale,  the  fact  that 
Zoe  Akins  wrote  the  play  for  the  explicit 
purpose"  of  starring  Jobyna  Howland  as  an 
eccentric  prima  donna  is  doubtless  excuse 
enough  for  not  demanding  harder — and  softer 
— work  from  Miss  Howland.  She  is  very 
amusing  indeed,  but  it  is  possible  to  believe 
that  the  comedy  contrasts  would  seem  less  easy 
and  regrettable  if  this  comic  Juno  did  not  come 
down    on    them    with    her    heaviest    emphasis. 

Into  the  month  must  fit  somehow  or  other 
an  American  tragedy  of  mixed  merits,  Hos- 
pitality, written  by  Leon  Cunningham,  produced 
rather  well  by  the  Equity  Players,  and  inter- 
mittently rewritten  by  all  concerned ;  a  French 
boulevard  contraption  called  The  Love  Child, 
which  A.  H.  Woods  and  Martin  Brown  have 
succeeded  in  making  far  more  offensive  than 
the  none-too-sweet  original  by  purifying  its 
cad-hero  for  the  benefit  of  Sidney  Blackmer 
and  his  fastidious  public  and  finally  a  visit  from 
one  of  the  really  grand  ladies  of  the  Comedie 
Franchise,  Cecile  Sorel.  Equipped  with  shoddy 
scenery,  a  repertory  of  the  vintage  of  1852, 
and  a  company  of  good  training  and  not  much 
talent,  Sorel  flashed  over  the  Broadway  sky  as 
a  portent  of  what  a  great  personality  and  a 
fine  tradition  can  accomplish  between  them. 


iiiMiiMHiiiMimiiiiMiiiiiMmm 


A  Mid-Season 
Musical  Review 

(Continued  from  page  73) 

Monteux  with  the  Boston  Symphony  Orches- 
tra is  commencing  to  run  his  Philadelphia  and 
other  rivals  closely,  and  the  brilliant  French- 
man has  done  wonders  with  the  material  he  has 
got  together — the  best  material  for  the  most 
part — while  his  programs  are  models  in  the 
matter  of  novelty  and  interest.  As  for  the 
Philharmonic,  that  institution  gives  me  few 
opportunities  of  hearing  its  performances,  and 
so  I  shall  not  venture  to  criticize  it  beyond 
saying  that  on  the  one  or  two  occasions  I  have 
heard  it  Stransky  has  conducted  with  greater 
insight  and  effect  than  I  have  hitherto  observed 
in  his  work.  Of  course,  the  quality  of  the 
orchestra    is    unimpeachable. 

Apart  from  Paderewski's  playing,  the  best 
pianism  I  have  heard  this  season  has  come  from 
that  musical  aristocrat  Siloti,  pupil  of  Liszt 
and  teacher  of  his  kinsman  Rachmaninoff ; 
Ernest  Schelling,  pupil  of  Paderewski,  who 
played  with  the  New  York  Symphony,  his 
master's  early  Concerto,  a  most  melodious  and 
fluent  work,  in  admirable  fashion ;  Ernest 
Hutcheson,  a  trifle  too  reserved,  but  who  none 
the  less  is  doing  a  fine  educational  work  with 
his  series  of  programs  exemplifying  the  great 
masters  of  piano  music ;  Rachmaninoff,  who 
startled  the  critics  and  cognoscenti  with  a  re- 
markable interpretation  of  Chopin's  Sonata,  in- 
cluding the  Funeral  March  played  as  it  was 
never  played  before ;  and  finally  Hoffman,  who 
remains  in  a  class  by  himself,  and  who  swept 
us  off  our  feet  with  some  of  the  loveliest 
Chopin  playing  we  have  ever  heard.  It  is  a 
great  season,  a  marvelous  season,  and  the  mind 
becomes  almost  bemused  in  recalling  what  one 
has  heard  and  in  anticipating  what  is  yet  to 
come. 


This  Free  Test 

Has  brought  prettier  teeth  to  millions 


The  prettier  teeth  you  see  everywhere 
now  probably  came  in  this  way. 

The  owners  accepted  this  ten-day  test. 
They  found  a  way  to  combat  film  on  teeth. 
Now,  as  long  as  they  live,  they  may  enjoy 
whiter,  cleaner,  safer  teeth. 

The  same  way  is  open  to  you,  and  your 
dentist  will  urge  you  to  take  it. 


Th 


e  war  on 


fil 


m 


Dentists,  the  world  over,  have  declared 
a  war  on  film.  That  is  the  cause  of  dingy 
teeth — the  cause  of  most  tooth  troubles. 

A  viscous  film  clings  to  the  teeth,  gets  be- 
tween the  teeth  and  stays.  Old  brushing 
methods  left  much  of  it  intact.  Then  it 
formed  the  basis  of  thin  cloudy  coats,  in- 
cluding tartar.  Most  people's  teeth  lost 
luster  in  that  way. 

Film  also  holds  food  substance  which 
ferments  and  forms  acid.  It  holds  the  acid 
in  contact  with  the  teeth  to  cause  decay. 
Germs  breed  by  millions  in  it.  They,  with 
tartar,  are  the  chief  cause  of  pyorrhea. 

Very  few  people  have  escaped  these 
troubles  caused  by  film. 

Ways  to  combat  it 

Dental  science,  after  long  research,  has 
found  two  ways  to  combat  that  film.  Able 
authorities  have  amply  proved  their  effi- 
ciency. So  leading  dentists  the  world  over 
now  advise  their  daily  use. 

*^^^    ^^m^umm^m^m^m^m        PAT.  OFF.       A 
REG. U.S.     Tjiimbibbi^miiiii    iii    mill  ■     i  

The  New-Day  Dentifrice 

Endorsed  by  modern  authorities  and 
advised  by  leading  dentists  nearly  all 
the  world  over  now.  All  druggists 
supply  the  large  tubes. 


A  new-type  tooth  paste  has  been  created, 
avoiding  old  mistakes.  The  name  is  Pepso- 
dent.  It  does  what  modern  science  seeks. 
These  two  great  film  combatants  are  em- 
bodied in  it. 

Aids  nature's  fight 

Pepsodent  also  multiplies  Nature's  great 
tooth-protecting  agents  in  the  mouth.  One 
is  the  starch  digestant  in  saliva.  That  is 
there  to  digest  starch  deposits  which  cling 
to  teeth.    In  fermenting  they  form  acid. 

It  also  multiplies  the  alkalinity  of  saliva. 
That  is  there  to  neutralize  mouth  acids — the 
cause  of  tooth  decay. 

Thus  Pepsodent  gives  to  both  these  fac- 
tors a  manifold  effect. 

Show  them  the  way 

Send  the  coupon  for  a  10-Day  Tube.  Note 
how  clean  the  teeth  feel  after  using.  Mark 
the  absence  of  the  viscous  film.  See  how 
teeth  whiten  as  the  film-coats  disappear. 

One  week  will  convince  you  that  Pepso- 
dent brings  a  new  era  in  tooth  protection. 
Then  show  the  results  to  your  children. 
Teach  them  this  way.  Modern  dentists  ad- 
vise that  children  use  Pepsodent  from  the 
time  the  first  tooth  appears. 

This  is  important  to  you  and  yours.  Cut 
out  the  coupon  now. 


10-Day  Tube  Free 


945 


THE    PEPSODENT   COMPANY, 
Dept.  535, 
1104  S.  Wabash  Ave.,  Chicago,  111. 

Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family 


Page  Seventy-Seven 


SijADQWLAND 


ooTJiethiiig 

Jp^NOWN  only  to  the  ladies  of  a 
I>-k  -*V      certain  noble  family  of  Floren- 
^      ^-'tine  days  was  a  magic  skin 
^o  formula — its  use  rendering  them  pre- 
'  eminent  in  courtly  circles  because  of 
their  transcendent  beauty  of  complex- 
ion.    Mysterious   and  wonderful! 
What  could  it  be?    Science  has  dis- 
closed "that  mysterious  something." 

SEM-PRHY 
JO-VE-NHY 

Sempre  Giovine 

JMeanmg  'yilwaysyoung'' 


Igroplexi 


Sem-pray  Jo-ve- 

nay  is  a  fragrant 

skin  cleanser  in 

cake  form  which, 

applied  to  the 

face  at  the  end 

of  the  day,  nourishes  the  skin,  cleanses  the  pores 

thoroughly  of  dirt,  banishes  blemishes  and  all 

impurities — doing  what  soap  and  water   alone 

cannot  do  because,  being  composed  of  oils  which 

have  a  natural  affinity  to  the  skin,  it  dissolves 

the  oily  pore  deposits  and  removes  them  without 

irritating  the  delicate  epidermis. 

Sem-pray  Jo-ve-nay  is  to  the  skin  what  the  sun 

is  to  the  flowers,  giving  that  delightful  freshness 

of  charmful  youth — leaving  the  skin  with  the 

smoothness  of  satin — without  an  appearance  of 

oil  or  shine. 

Send  in  your  name  and  address  for  a  seven- 
day  trial  size  cake  free.  It  will  show  you  why 
those  who  use  this  dainty  refreshing  com- 
plexion cake  are,  indeed,  "always  young." 

Full  size  packages  at 
all  good  toilet  counters 


The  Sem-pray  Jo-ve-nay  Co 
Depi.    1327 
Grand  Rapids,  Mich. 


i 


A  Cantrip  of  Critics 

(Continued  from  page  36) 


poet.  It  was  Edmund  Wilson  Jr.,  who  was  the 
first,  I  believe,  to  assert  the  paradox  that 
Mencken  is  a  poet,  and  where  Mencken  least 
suspects  it,  that  is,  in  the  sonorous  and  im- 
pressive chants  of  Suite  Amcricaine  in  the 
present  volume,  and  his  litanies  and  catalogs 
of  previous  works.  One  has  but  to  read  the 
Suite  Americaine  to  see  that  Mencken  has  given 
to  these  pieces  a  poetic  emotion  that  is  as  pro- 
foundly moving  as  anything  ever  written  by 
Carl    Sandburg. 

But,  to  get  back,  Mencken,  with  his  bluster- 
ing vitality,  his  vigorous  style  (described  by 
his  ancient  enemy,  Stuart  P.  Sherman  as  "a 
style  becoming  a  retired  military  man — hard, 
pointed,  forcible,  cocksure"),  his  close  touch 
with  life,  his  ready  perception  of  the  vital,  the 
good,  the  significant  in  contemporary  Ameri- 
can letters,  and  his  combination  of  skepticism, 
agnosticism,  and  Nietzscheanesque  idealism,  all 
of  which  are  (or  were)  in  the  spirit  of  the 
times,  brought  to  his  feet  literally  thousands  of 
young  men  and  women  who  looked  to  him  for 
stimulation,  precept,  and  direction  in  literature 
and  in  life.  He  had,  unfortunately,  great  gifts 
only  as  concern  the  first.  He  is  stimulating 
always ;  he  is  a  scourge  of  shams,  hypocrisies, 
pettiness,  and  nonsense.  He  is  a  starist,  and  as 
such  is  not  good  in  precept.  And  he  is  a  con- 
fused skeptic  or  resignationist,  convinced  that 
man  is  vile  and  without  hope  of  redemption, 
and  therefore  is  rather  useless  in  direction.  He 
is,  finally,  prophylactic  rather  than  nourishing ; 
and  in  his  book  Prejudices:  Third  Series  his 
prophylactic  agency  is  at  its  most  potent  best. 

T\/|ENCKEN'S  greatest  (because  cleverest) 
enemy  is  Stuart  P.  Sherman,  a  professor  of 
English  at  the  University  of  Illinois.  Profes- 
sor Sherman  is  by  way  of  being  perhaps  the 
deftest  wielder  of  the  verbal  rapier  now  writing 
in  America.  He  has  wit  and  malice,  a  gift  for 
sarcasm  and  irony.  He  began  as  a  disciple  of 
Paul  Elmer  More,  a  Presbyterian  who  learned 
Sanskrit,  taught  in  a  woman's  college,  and  set 
himself  up  as  a  critic  in  the  classical  manner 
by  writing  about  Plato  and  damning  out  of 
hand  everything  worth  while  that  has  been 
written  since  the  French  Revolution. 

Sherman  was  a  promising,  a  brilliant  lad  in 
college,  and  More  and  Professor  Babbitt  got 
him  young  and  got  him  good.  He  has  only 
just  wormed  out  of  their  clutches.  In  the  last 
sentence  of  the  last  essay  of  his  last  book, 
Professor   Sherman  neatly  trips  up  the  august 


More,  kicks  him  one  on  the  shins,  thumbs  his 
nose  at  him  and  walks  airily,  brazenly  over  to 
the  other  camp,  the  camp  of  the  Seven  Against 
Smugness  and  Optimism. 

This  signals,  I  think,  the  appearance  on  the 
American  critical  scene  of  a  man  who  may 
give  a  new  direction  to  tendencies  in  American 
culture.  Professor  Sherman  is  a  scholar,  a 
man  of  refined  sensibilities,  and  he  has  made  it 
his  business  to  find  out  during  the  past  year  or 
so  something  about  American  life  and  thought. 
It  was  obvious  from  the  first  that  his  very 
fierce  enmity  for  Mencken  was  only  an  earnest 
of  the  extent  of  his  subconscious  admiration. 
In  his  attacks  upon  Mencken  during  the  war, 
he  discarded  every  code  of  fair  and  honorable 
duelling  and  resorted  to  the  most  Machiavellian 
tactics,  slyly  insinuating  in  the  course  of  a 
review  that  Mencken  was  in  the  pay  of  German 
government  as  a  spy  and  suggesting  quite  openly 
that  Mencken  be  jailed  or  deported.  It  was  a 
malicious,  unprincipled  personal  attack,  having 
nothing  whatever  to  do  with  Mencken's  abilities 
as  a  critic  or  with  the  book  Professor  Sher- 
man was  ostensibly  reviewing.  He  has  not  yet 
quite  been  able  to  see  Mencken  in  any  other 
light  than  as  a  personal  rival  and  enemy ;  but 
he  has  modified  his  tactics,  he  has  seen  much 
to  admire  in  Mencken  and  proclaimed  it,  and 
he  has  weakened  so  much  in  his  attack  that  his 
subsconscious  admiration  shines  out  all  over 
it.  Mencken  in  his  brusque  manner  says  that 
Professor  Sherman  is  "beginning  to  hug  in 
the  clinches" ;  but  it  is  nearer  the  truth  to  say 
that  Mencken  has  finally  shown  Professor 
Sherman  what  truth,  honesty,  and  courage  are, 
and  in  seeing  them  Professor  Sherman  has 
suddenly  discovered  that  these  virtues  were  not 
the  exclusive  possession  of  the  ancient  Greeks, 
but  that  they  may  be  shared  by  an  anti-Puritan, 
and  anti-Prohibitionists,  an  American  of  Ger- 
man descent,  a  rowdy  and  rough  fellow,  who 
misses  no  occasion  to  kid  college  professors. 
Indeed,  Professor  Sherman  has  given  us  evi- 
dence in  Americans  that  there  is  a  new  Ameri- 
can critic  who  is  certain  of  a  hearing  because 
he  is  vitally  interested  in  problems  of  American 
life  and  American  culture,  and  who  keeps  his 
thumb  upon  the  human  pulse.  If  you  wish  to 
learn  how  alike  has  been  their  thought  when 
they  were  in  their  most  heated  argument,  do 
but  read  Professor  Sherman's  admirable  article 
on  Theodore  Roosevelt  in  Americans  and  then 
read  Mencken's  treatment  of  the  same  subject 
in  Prejudices :  Second  Series. 


Recent  Books  in  Brief  Review 


Lilian  (Doran)  by  Arnold  Bennett — A  light 
but  entertaining  story  of  a  typist  who  eloped 
with  her  employer  without  benefit  of  clergy. 

Margot  Asquith:  An  Autobiography,  Vols. 
Ill  and  IV  (Doran)  by  Margot  Asquith— An 
emphatic  refutation  of  an  expanded  myth  that 
the  wife  of  the  former  British  premier  is  or  ever 
was  a  clever,  audacious,  brilliant,  and  danger- 
ous woman.  In  the  first  two  volumes  there  was 
some  piquancy  in  her  unrestrained  gabbling ; 
in  these  volumes  we  have  only  a  tiresome  and 
petty-minded  woman  interminably  telling  us 
how  sweet  her  children  are  and  how  good  her 
husband  is. 

From  Seven  to  Seventy  (Harper)  by  Edward 
Simmons — Reminiscences  of  an  American  artist 
who  apparently  met  most  people  of  artistic  and 
literary    consequence    in   Europe   and   America. 

The  Second  Empire  (Putnam)  by  Philip 
Guedalla — Mr.  Guedalla  does  for  Napoleon  the 
Little  and  his  period  what  Lytton  Strachey  does 
for  Queen  Victoria  and  hers. 

iooi  Afternoons  in  Chicago  (Covici-McGee) 
by  Ben  Hecht — Short  sketches  of  real  life  of 
various  degrees  and  stations  in  the  streets  and 
slums,  restaurants  and  police  courts  of  Chicago, 
written  by  a  man  with  a  sense  of  beauty  and 
irony,  humor  and  satire. 

Anne  Severn  and  the  Fielding s  (Macmillan) 
by  May  Sinclair — The  best,  most  compact  novel 
Miss  Sinclair  has  ever  written,  and  she  has 
written  some  good  ones.  This  has  to  do  with 
the  love  three  brothers  have  for  a  motherless 
girl  who  comes  to  live  at  their  house. 


Page  Se- 


venty-Eight 


Our  Southern  Highlanders  (Macmillan)  by 
Horace  Kephart — A  fascinating  account  of  the 
"hill-billies"  of  the  South,  a  poverty-stricken, 
underfed,  gaunt,  illiterate  race  of  moonshiners 
and  lawbreakers  who  have,  however,  native 
virtues  of  a  peculiar  kind. 

Beasts,  At  en  and  Gods  (Dutton)  by  Ferdi- 
nand Ossendowski — The  most  thrilling  travel 
and  adventure  account  of  the  period,  by  a  man 
who  escaped  from  the  Russian  revolutionists 
thru  Siberia,  went  into  Thibet,  saw  there  the 
Living  Buddha  (a  fat  and  drunken  old  rascal, 
much  practised  in  hokus-pokus  which  fools  and 
terrifies  the  natives)  and  experienced  much  that 
seems  almost  fabulous.  A  genuinely  diverting 
book. 

Sam  Blick's  Diary  (Harper)  by  Stephen 
Nolan — The  average,  good-natured,  middle- 
class  Middle  Western  American  self-revealed 
as  to  his  thoughts,  his  beliefs,  his  habits,  his 
speculations  about  man,  God  and  hereafter.  A 
book  with  a  mellow  humor. 

Where  the  Blue  Begins  (Doubleday,  Page) 
by  Christopher  Morley — A  delightful  bit  of 
jesting  aimed  at  the  human  race.  It  is  ostensi- 
bly about  dogs,  but  it  is  really  a  neatly  done 
satire  upon  American  business,  advertising,  city 
life,  churches,  marriage,  and  all  the  rest. 
"Babbitt"  in  terms  of  sympathy  and  humor 
and  resignation. 

Jurgen  (McBride)  by  James  Branch  Cabell — 
Undoubtedly  one  of  the  few  authentic  literary 
masterpieces  of  our  time. 

EDWARD    LANGER    PRINTING    CO..  INC., 
JAMAICA.     NEW     YORK     CITY. 


KOTeX 


jwsmw  >  swssswss^sw^^  « 


1922.  C.  P.  Co. 


Regular  size,  12  for  60c 
Hospital  size,  6  for  45c 


It  forms  new  sanitary  habits  among  women 


Thousands  of  women  have  used  Kotex  for  the  first  time 
during  the  last  six  months.  These  remarkable  sanitary  pads 
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Meets  the  most  exacting  needs 

Kotex  is  particularly  appreciated  by  girls  and  women 
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One  of  the  important  and  exclusive  advantages  of  Kotex 
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Two  sizes — Regular  and  Hospital  « 

The  Hospital  size  Kotex  has  additional  thickness  and  is 
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